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Zhongyong's) 父 fù father 利 lì profit 其 然 也 qí rán yě the thing (that he be invited) {} 父 利 {其 然 也} {} fù lì {qí rán yě} (Zhongyong's) father profit {the thing} The father considered the thing as profitable . For an adjective, it becomes an observation in the form of "consider (object) (the adjective)". ex: 漁 yú fish 人 rén man 甚 shèn very 異 yì strange ...
Classical Chinese poetry forms are poetry forms or modes which typify the traditional Chinese poems written in Literary Chinese or Classical Chinese.Classical Chinese poetry has various characteristic forms, some attested to as early as the publication of the Classic of Poetry, dating from a traditionally, and roughly, estimated time of around 10th–7th century BCE.
Regulated verse – also known as Jintishi (traditional Chinese: 近體詩; simplified Chinese: 近体诗; pinyin: jìntǐshī; Wade–Giles: chin-t'i shih; lit. 'modern-form poetry') – is a development within Classical Chinese poetry of the shi main formal type. Regulated verse is one of the most important of all Classical Chinese poetry types.
Lüshi (traditional Chinese: 律詩; simplified Chinese: 律诗; pinyin: lǜshī; Wade–Giles: lü-shih) refers to a specific form of Classical Chinese poetry verse form. . One of the most important poetry forms of classical Chinese poetry, the lüshi refers to an eight-line regulated verse form with lines made up of five, six, or seven characters; thu
Pailü (Chinese: 排律; pinyin: páilǜ; Jyutping: paai4leot6) is one of the main forms of Classical Chinese poetry. It is a style of regulated verse (jintishi): the rules and regulations of the pailü allow for a poem composed of an unlimited series of linked couplets. The pailü form seems to have developed as part of 7th-century Tang poetry.
* Personal pronouns are the only items in Cantonese with distinct plural forms. The character to indicate plurality is formed by adding the suffix 哋 (dei6), and classic 等 (dang2). There exist many more pronouns in Classical Chinese and in literary works, including 汝 (jyu5) or 爾 (ji5) for "you", and 吾 (ng4) for "I" (see Chinese ...
Ming poetry (and Chinese art and literature in general) is marked by 2 transitional phases, the transition between the Yuan dynasty which was the predecessor to the Ming, and the Qing-Ming transition which eventually resulted in the succeeding Qing dynasty. Although in politico-dynastic terms, the dynastic leadership of China is historically ...
* 我们 / 我們 can be either inclusive or exclusive, depending on the circumstance where it is used. † 咱们 / 咱們 is mainly used by northern speakers. Following the iconoclastic May Fourth Movement in 1919, and to accommodate the translation of Western literature, written vernacular Chinese developed separate pronouns for gender-differentiated speech, and to address animals, deities ...