Rhythm Of The Prose Language

Su Shi, as one of representative figures of the supreme achievements of Chinese literature in the Song Dynasty, had great attainments in poem, verse, prose and so on. He paid the massive time and energy in prose writing among these literary genres and produced many excellent works combining the beauties of "language","artistic conception" and "emotions", which basically represents the highest accomplishments of earlier Song Dynasty’s literary movement. These are all related with his superb and exquisite language-using skills. This paper intends to start the tentative analysis and research of the rhythmical structures of Su Shi’s prose languages according to the different levels of rhythm with taking the language rhythm as the entry point, the relevant characteristics of rhythm, such as pause, rhythm as the key link. We are desirous to explore the underlying causes and formation mechanism of the musical beauties that diffused by Su Shi’s prose languages through the research in order to provide some theoretical guidance within the range of rhythm for the related practical language-using, e.g. language teaching, writing training, reading arts, systematically lingual project.Chapter One is the introduction of this paper mainly including three sections. According to the analysis and summaries of prose languages’characteristics, we found in Section One that the beauties of prose languages are mainly due to the natural and harmonious unity of phonic melody originating from the form and content of the languages, which taking advantage of the rhythmical means. In Section Two, we briefly introduced the current research situation, achievements and shortcomings concerning the Su Shi’prose languages. And in Section There, we set a limit to the data source about the rhythmical research of Su Shi’prose languages. All these helped to establish the research ideas and objects for the following chapters’detailed elaborating.Chapter Two is the theoretical overview of this paper. As we all know, the history of trying to establish the Chinese rhythmic system aiming at the analysis and study of Chinese languages’ rhythmic characteristics and structures by combing, learning and absorbing the research results concerning the rhythmic theories and practices at home and abroad is not long. Therefore, the research of specializing on this aspect is still a relatively new field of study. In view of this situation, we at first defined the related concepts of Chinese languages’ rhythm, e.g. pause, rhythm in Section One as the theoretical framework of this paper before serious starting of the detailed discussion. At the same time, for the convenience of drafting and discussion, we in Section Two roughly divided the Chinese phonic chains according to the different rhythmic levels, which laid the foundation for the third chapter’s hierarchically specific research.Chapter Three is the main part of this paper. We specifically discussed the generation strategies of Su Shi’s prose languages’ rhythmic beauties from the foot to text among different rhythmic levels through the analysis of pause and rhythm. In addition, we also analyzed some typical rhythmic overlappings probably existing in the three representative rhythmic levels. All of these are helpful for readers to understand how the author constructs sentences and expresses emotions and feelings by the comprehensive utilization of multi-level, multi-element, multi-form rhythmic characteristics on the language chains.Chapter Four aims to describe how the rhythmic characteristics on the Chinese phonetic chains form an article’s rhythmic beauties cooperatively and harmoniously and make a contribution to the building of artistic conception, the elucidation of emotions, the expression of thoughts and feelings of an article through the concrete analysis from the pause, rhythm etc. concerning language rhythmic structures of Su Shi’s prose classics.Chapter Five is the conclusion of this paper. First of all, we made some necessary summaries and explainations of the two rhythmic characteristics, pause and rhythm about their statuses, features, and noting matters when using. Secondly, we briefly discussed the theoretical basis of conducting the research of Su Shi’s prose languages’ rhythmic structures and the significances and effects of the research. At last, we summarized the distinguishing and innovative features of this paper, and the shortcomings that call for further improvements of this paper.