In the seventeenth year of Chongzhen in Ming Dynasty (1644), in the first year of Shunzhi in Qing Dynasty, Pu Songling was 5 years old. Li Zicheng's army captured Beijing, and Emperor Chongzhen hanged himself.
Qing soldiers entered the customs; Li Zicheng's army was defeated. Beijing, the capital of Qing Dynasty.
Shunzhi 14 (1657) Pu Songling 18 years old. Marry Liu.
Shunzhi 15 (1658) Pu Songling 19 years old. At the beginning, I should be a boy. I first went to school with the county, the government and the road, and was told to go to Shandong to study the chapter of politics.
Shunzhi 16 (1659) Pu Songling is 20 years old. They became friends with Zhang, Zhang and Zhang.
Shunzhi seventeen years (1660), Pu Songling 2 1 year. I failed the township test.
In the first year of Kangxi (1662), Pu Songling was 23 years old. The eldest son, Pu Ruosheng.
In the second year of Kangxi (1663), Pu Songling was 24 years old. I failed the township test.
In the fourth year of Kangxi (1665), Pu Songling was 26 years old. Sitting at Wang Yongyin's home in Ibn Wangcun.
In the ninth year of Kangxi (1665), Pu Songling was 30 years old. In August, at the invitation of Sun Hui, a friend from Baoying County, Jiangsu Province, he went south to make curtains.
In the tenth year of Kangxi (167 1 year), Pu Songling was 3 1 year. Spring and summer in Baoying and Gaoyou.
Autumn curtain returns. The third son, Puyi, was born.
In the 11th year of Kangxi (1672), Pu Songling was 32 years old. In April, my squire and Tang and I visited Laoshan Mountain.
Qiu Ying didn't pass the rural exam. In the 12th year of Kangxi (1673), Pu Songling was 33 years old.
The crown sits in the pavilion in Quanfeng Township of this county. In the 14th year of Kangxi (1675), Pu Songling was 35 years old.
I failed the township test. The fourth son, Pu.
In the eighteenth year of Kangxi (1679), Pu Songling was forty years old. Began to have a home in Biji, Xipu Village, this county.
In March, the finished fox and ghost novels were initially collected and named Strange Tales from a Lonely Studio. The peak prefaces it.
In the 22nd year of Kangxi (1683), Pu Songling was 44 years old. Make a "marriage book".
Grandson, Pu people. In the 23rd year of Kangxi (1684), Pu Songling was 45 years old.
Make "quotations from saving the body". In the 26th year of Kangxi (1687), Pu Songling was 48 years old.
In spring, I met the great poet Wang Shizhen. In summer, Wang Shizhen wrote Strange Tales from a Lonely Studio.
In autumn, Pu Songling was arrested for "overstepping" after having obtained the provincial examination. In the 29th year of Kangxi (1690), Pu 5 1 year.
Qiu Ying won the provincial examination and was arrested for another foul. In the thirty-second year of Kangxi (1693), Pu Songling was 54 years old.
In spring, Yu Chenglong, a local judge in Shandong Province, was invited to visit Jinan for a few days. When the owner of the museum died of illness, Pu Songling wrote eight poems of "Crying to eternity".
In the thirty-sixth year of Kangxi (1697), Pu Songling was 58 years old. Selected works of Zhuang Lie.
Zhu Kun sent poems and letters and updated the unread manuscript of Strange Tales from a Lonely Studio. In the forty-first year of Kangxi (1702), Pu Songling was 63 years old.
I went to Jinan in late spring, stayed for several months, and failed in the rural exam. The crown is dying.
In the 45th year of Kangxi (1706), Pu Songling was 67 years old. Write a medical book.
Zhu Kun copied Strange Tales from a Lonely Studio and wrote three poems. In the forty-eighth year of Kangxi (1709), Pu Songling was 70 years old.
At the end of the year, I retired and went home, ending my 30-year career in Xibin. In the forty-ninth year of Kangxi (17 10), Pu Songling was 7 1 year old.
10, and together, he was invited to drink in the country. In the fifty years of Kangxi (171year), Pu Songling was 72 years old.
In May, Wang Shizhen died of illness. Pu Songling wrote four poems "Mr. Yu Yang's May Dream, I don't know how many days to donate guests". In October, he went to Qingzhou to take an examination of tribute, aged as a tribute student, and was called the Shandong champion Huang.
Make a folk song "The Story of the Wall". In the fifty-second year of Kangxi (17 13), Pu Songling was 74 years old.
In August, Liu died. In the fifty-fourth year of Kangxi (17 15), Pu Songling was 76 years old.
He died of illness in the first month. Pu Songling (1640- 17 15), whose real name is Liu Xian, whose real name is Chen Jian, whose nickname is Liu Quan layman, whose room number is Liaozhai, is a family member of Pujiazhuang, Zichuan.
Born in the late Ming dynasty and died in the early Qing dynasty, he failed in the imperial examination all his life, took teaching as his career, and became a tribute student in his later years. The old annals called it "Magnolia officinalis, dedicated to making friends, emphasizing the same name, but solitary and straight, especially unable to keep pace with the times."
His works include poems, essays, essays, folk songs and plays. His China classic novel Strange Tales from a Lonely Studio is widely circulated and enjoys a high reputation at home and abroad. Pu family in Zichuan, a scholarly family, has moved here since the Yuan Dynasty. Where is its origin? There is no literature.
His distant ancestors Pu Luhun and Pu served as the general manager of Banyang Mansion Road, famous for riding in the city, but neither of them served. This tomb is near Dianzi Village in the northwest of the city. Weng Zhong, an old Chinese watch, is commonly known as a "stone woman".
Therefore, its ethnic composition has caused controversy in academic circles, and the coexistence of "Mongolia, Jurchen, Hui and Han" is still inconclusive. According to Pu's genealogy, Pu's surname is Yuan Shixun, and Ning and Shun once suffered from foreigners.
Xing was butchered, leaving only a "reserved orphan". At that time, he was six or seven years old, hiding in the Yang family and changing his mother's surname. After Yuan's death, he took Pu as his surname and Zhang as his ancestor. Later, many descendants lived in Jingzhuang and changed their names to Pujiazhuang.
During the Wanli period of the Ming Dynasty, among the eight students in the county, their family actually accounted for six. Later, the Ke family came one after another, claiming to be a noble family.
From Zhang Pu to Pu Songling in the eleventh calendar, his lineage is: Zhang Zizhong-Zheng Haizhen-Yongxiang-Shiguang-Ji Fang-Shengling-Pan Songling's great-grandfather Shiguang was born first in the clan and was crowned. Among the four sons born, one is a discipline, and three are A Duo. His great-grandfather Ji Fang (Line 2) was born in a hurry, and all his five sons were born in Pan Pan. The ancestors died, and none of the five sons picked Qin; His father, Pan, was accompanied by Dong Shi and Li. Because he didn't have a mechanic and his family was poor, he left school to go to sea and was called Su Feng for several years. Laymen don't forget the classics, and Bo Cha is rampant, which is far behind Confucianism.
But the eldest son died young, and he had no children for more than forty years (he had adopted a son). He gave money to do good deeds and help the village. Later, he gave birth to four sons (three of whom went to school). He was loyal to the monarch all his life, attached importance to the war, planned to defend the village and funded the repair of the city wall, so he was named "seclusion" in the county annals.
Inspired by Ming School, Pu Songling was born in the north room of Pujiazhuang's hometown in the 13th year of Chongzhen, Chen Geng on the evening of April 16th. At this time, while his father was dreaming, a sick and thin monk with a coat and a round ointment like copper coins stuck on his chest entered the room.
However, Pu Songling was born as a "sickly and barren Gotama". Pu Songling is the third (the second son of Dong Shi) among the four brothers (less dead, heir Zhao Xing Gui), two brothers (born by Li) and bai ling, and a younger brother He Ling.
Due to the gradual decline of the family, the teacher could not postpone, and all four brothers learned from their father. Pu Songling is naturally intelligent and can read history, especially influenced by his father.
Safe.
2. The evolution of Chinese characters and the main writing carrier of ancient bronze official script. After thousands of years of change and development, the evolution process of Chinese characters is: Oracle Bone Inscriptions, bronze inscription, big seal script, small seal script, official script, regular script, cursive script and running script.
The evolution of Chinese characters can be simply summarized into five stages: sound, shape, image, number and reason.
The main writing carriers can be summarized as follows:
Oracle Bone Inscriptions:
The earliest Chinese characters discovered in China were called "Oracle Bone Inscriptions" because they were carved on the shoulder blades of tortoise shells and cattle. They cover politics, economy, military affairs, climate, culture and many other aspects, and are important materials for studying the history at that time. There are about1.4000 pieces unearthed in Oracle Bone Inscriptions, with a total of about 4500 words, and the recognizable words are about1.7000 words. Oracle Bone Inscriptions is a Chinese character.
Jinwen:
The bronze inscriptions on Yin and Zhou bronzes are also called Zhong Dingwen. China entered the Bronze Age in Xia Dynasty, and the technology of copper smelting and bronze ware manufacturing was very developed. Because the Zhou Dynasty called copper gold, the inscriptions on bronzes were called "inscriptions on bronzes" or "auspicious words"; This bronze ware was called "Zhong Dingwen" in the past because it had the largest number of characters on Zhong Ding. The application period of bronze inscriptions is about 800 years, from the early years of the Western Zhou Dynasty to the Qin Dynasty's destruction of the Six Kingdoms.
Official script:
Lishu is a simple method of writing Xiao Zhuan, which was popular among the lower classes in the Qin Dynasty at first. It is said that Cheng Miao arranged it into a new font in prison. The writing carrier is on the bamboo slips. Later, after the Han Dynasty, paper was invented, and most of the characters were written on paper.
3. The carrier of Jingwei reclamation in classical Chinese is the fairy tale Jingwei reclamation, which is one of the ancient myths and legends in China.
According to legend, Jingwei was originally the youngest daughter of Emperor Yan Shennong, named Nuwa. One day, the girl visited the East China Sea and drowned. After his death, his uneven spirit became a bird with a flower head, a white beak and red claws. Every day, he brings stones and plants from the mountains and throws them into the East China Sea, and then he cries "Jingwei, Jingwei" as if calling himself.
Based on different research perspectives, people divide the myth of "Jingwei Reclamation" into different myth types. Obviously, the myth of "jingwei filling the sea" belongs to a typical deformation myth, which belongs to the myth of "preserving health after death", that is, entrusting the soul to a substance that exists in reality.
Not only that, "Jingwei filling the sea" also belongs to the myth of revenge. The girl had no resentment against the sea before her death, but she drowned unexpectedly, so she forged a hatred with the sea and became the revenge cause of the bird's lifelong reclamation. Some researchers think: "There are many typical unnatural deaths recorded in ancient myths in China, among which accidents make people see the weakness and powerlessness of ancestors in the face of nature, and at the same time reveal the fragility of life.
"The death of the baby girl was an accident, showing the fragility of human life and the strength of the sea. Mao Dun, a famous writer, said: "Jingwei and Xingtian belong to the same type of myth, both of which describe indomitable perseverance and will. This is a myth of birds and beasts with moral consciousness.
4. What is the main content of What to Teach in Classical Chinese edited by Wang Rongsheng?
1. Reading simple classical Chinese, you can understand the meaning of words and phrases and the content of the article with the help of notes and reference books. Understand and sort out the meaning or usage of common classical Chinese notional words, classical Chinese function words and classical Chinese sentence patterns, and pay attention to the analogy in reading practice.
Our Chinese teacher is often proud of his knowledge of Chinese studies. An important manifestation of this knowledge is that when reading classical Chinese, they have grammatical and contextual explanations for difficult words and expressions. After reasonable explanations, they will have the same pleasure as solving math problems. Then, let's not be embarrassed about teaching classical Chinese. We should only focus on how to teach.
2. Different texts and different contents are just carriers for us to teach students to read classical Chinese. In fact, the purpose is the same.
Therefore, the classroom teaching design of classical Chinese should highlight the key points of basic knowledge and basic skills, and integrate more interest in this key point, instead of integrating some knowledge into the pursuit of interest. For high school students, it is more important to cultivate their ability of independent exploration and combing.
I think only in this way can we awaken students' ignorance in learning classical Chinese, let them know fairly well, make them full of interest and make the classroom fresh and efficient!
3. For a long time, our writing teaching has neglected "writing for communication" and emphasized "writing for expression".
4. Writing is a practical activity. We are analyzing all kinds of beginnings and showing all kinds of endings, but we have not done any practical activities of "writing the beginning" or "writing the ending". Teaching can not simply introduce writing knowledge, but should carry out a large number of "activities", which must be based on "writing" activities about "writing".
In the 1980s and 1990s, people were concerned about "how to teach Chinese", but now they are concerned about "what to teach".
6. experience; Stimulate innovation. In teaching, we should not only be good at grasping the thinking mechanism, but also try our best to lead it out, which must be paid attention to in the process of training to play the leading role of teachers. The so-called thinking mechanism is nothing more than the budding curiosity in the learning process. "Seeking knowledge" is the core content. "Bud Hall needs opportunities and conditions. This requires teachers to assess the situation, proceed from the reality of the teaching materials, choose the appropriate "starting point" for teaching, stimulate students to think more and think deeply in the process of curiosity, doubt, exploration and discovery, make the cerebral cortex in a healthy and exciting state, and make the understanding of things enter the essence from the surface, so as to improve their appreciation ability and appreciate the artistic conception of the text.
5. Classical poetry can be divided into literary genres. Classical poetry is a language art that takes classical Chinese as the carrier and reproduces the lyricism of life with the harmony of language rhythm. Classical poetry is one of the two major schools of Chinese poetry, which is divided according to the time when it appeared. Chinese poetry can be divided into classical poetry and modern poetry. Classical poetry is divided into classical poetry and classical metrical poetry. Modern poetry can be divided into modern metrical poetry and modern style poetry.
Metrical Poetry
As far as literary genre is concerned, classical metrical poetry is a language art which takes classical Chinese as the carrier and reproduces life lyric and expression with the highest harmony of language rhythm. Classical metrical poems include modern poems (metrical poems, metrical poems and metrical poems), words and songs. Classical metrical poetry has strict metrical rules, and there are clear requirements in terms of words, sentences, leveling, antithesis and rhyme.
Style poetry
As far as literary genre is concerned, classical Chinese poetry is a language art which takes classical Chinese as the carrier and reproduces the lyricism and expressive force of life with the universal harmony of language rhythm. Classical poems include The Book of Songs, Chuci poems, Yuefu poems and classical poems.
Classical poetry is relatively free in meter, without antithesis, even in level and level, wide in rhyme and unlimited in length. Sentences include four words, five words, six words, seven words and miscellaneous words. Those who use three, five or seven words at the same time generally count as seven words.
6. Commonly used words in classical Chinese There are the following kinds of modal particles commonly used in classical Chinese: 1, and: (1) is used at the end of the sentence to express the declarative mood.
Such as: the husband will, the country will also help. (2) Used in sentences to indicate a pause to ease the tone.
Such as: the bird is dying, and its song is also sad; The dying man speaks the truth. 2. One: (1) is used at the end of the sentence to express the tone of the statement.
For example, if the Tao fails, it is well known. (2) Used at the end of a sentence to express doubt, exclamation and imperative mood.
For example, Mr. Wang has been here for several years. /I haven't learned from you for a long time! You can go now, be careful not to stay. 3. Hu: (1) is used at the end of the sentence to express the interrogative mood.
Strong man, can I have another drink? (2) Used at the end of a sentence to express exclamation and imperative mood. Such as: God! I am innocent.
/Is that all right? (3) Used in sentences to indicate a pause to ease the tone. Take people by their ability, and lose their feathers.
4. Speaker: (1) indicates pause sound. Such as: husband hoarding, the world's great life is also.
(2) Used after the time word to indicate a pause to ease the tone. My uncle died of a tiger.
(3) Used at the end of a sentence to express doubt. It doesn't make any difference. Who has more? (Prison Miscellaneous Notes) 5. Yeah: (1) is used at the end of a sentence to express doubt, which is equivalent to "ma" and "na".
Such as: the six countries mourn each other and lead Qin Ye? /But when will you be happy? (2) Used in interrogative sentences at the end of sentences, it is equivalent to "horse". For example, can I be taught to hunt insects? (3) As a rhetorical question at the end of a sentence, it is equivalent to "horse".
Such as: alas! Are counties really embarrassed? (4) Used to sigh at the end of a sentence, which is equivalent to "ah". Time, life? Since ancient times.
6. Evil: (1) expresses doubt, which is equivalent to "Ne" and "Mo". For example, did you kill two birds with one stone to bully Qin evil? (2) Expressing exclamation is equivalent to "yeah".
Such as: Gankun is easy to be evil.
7. What are the main points of classical Chinese writing? As the carrier of traditional culture, classical Chinese has played an important role in promoting the inheritance and development of national traditional culture. However, at present, there is a single and passive phenomenon in the way of Chinese students learning classical Chinese. Students lack the opportunity and ability of independent exploration, cooperative learning and independent acquisition of knowledge, which leads to difficulties in the learning process. How can we talk about the beauty of reading classical Chinese? At present, the new curriculum puts forward higher requirements for students' reading of classical Chinese, emphasizing that in the process of Chinese teaching, students should "know the richness and broadness of Chinese culture and absorb the wisdom of national culture". Therefore, it is really urgent to let students contact classical Chinese from junior high school, stimulate their interest in learning classical Chinese and improve their enthusiasm and autonomy in learning. Faced with this situation, what strategies can be adopted to meet the needs of "autonomous" learning? First, pay attention to reading aloud, perceive the text, and change passive acceptance into active learning. "Chinese Curriculum Standard" requires that reading teaching in all periods should attach importance to reading aloud: through reading aloud, students can directly and truly perceive the content of the text and understand the author's thoughts and feelings, which is an effective way to change their learning from passive acceptance to active discovery. The seventh grade students first came into contact with classical Chinese in the first unit. They have some difficulties in implementing the meaning of words, phrases and sentences in the text, so it is particularly important for students to perceive the whole content of the text without literary translation and understand classical Chinese through repeated reading. In teaching design, teachers' analysis and explanation are no longer used to replace students' independent perception of the text, but reading aloud is regarded as an important means for students to learn and understand. According to the students' situation, the teaching level of classical Chinese reading is designed, and different requirements are put forward for each reading, so that the main problems such as emotional theme can be solved through reading, thus improving students' overall perception of the article. For example, the teaching of Children's Fun (the first volume of the seventh grade of People's Education Edition) can be designed as follows: 1 Reading: Students are free to read the text, and they are required to know the glyphs and pronounce them correctly. For example, the items are (Wei) ginger and crane (6544). It is required to accurately grasp the pause of the sentence on the basis of accurate pronunciation. In this session, let the students comment on themselves, and then the teacher will give appropriate hints, such as "hold your head high/look at it, make it stronger, make it/smoke/fly" and so on. The teacher demonstrated reading in the second section, and the students realized how to correctly handle the reading rhythm. 3 reading: students read the text together and think about the author's childlike interest. Students look for sentences that express childlike interests. At this time, the teacher guides the implementation of the meaning of classical Chinese. Reading: Retell the contents of two pictures in the text in your own words. Reading: Look at the blackboard and try to describe the contents of these two pictures with sentences from the text. At this time, students can already recite in class. It can be said that the most basic way to learn classical Chinese is reading, and the best way is reading, with emphasis on reading and difficulty in reading. But it is not reading in the end, so students should pay attention to the changes in reading. Reading evaluation, learning and understanding, using the strategy of group reading, and finally achieving the effect of "self-understanding". Take reading as the starting point of learning classical Chinese, understand the text through reading, and let students read with interest in combination with their own experience background and the openness of reading materials, so that different students will make different "interpretations" of the text. Because they read the text truthfully and have thoughts, they will pour out. Autonomous learning will come naturally. Second, provide a platform for interaction and cooperation, so that the awareness of autonomous learning can be maintained for a long time. The new syllabus and new curriculum reform require respecting students' individual differences, attaching importance to students' personality development and allowing students to have their own opinions. Therefore, teachers must avoid "concentrated learning" in the teaching process, carefully organize learning activities, pay attention to the process, and provide an interactive learning platform for students. Through student-student cooperation, teacher-student cooperation, deskmate cooperation, group cooperation and class cooperation, each student's interest in learning and active participation consciousness can be maintained for a long time. In the specific classroom operation, we can adopt the strategic steps of asking questions, independent thinking, group discussion, speaking on behalf of others and achieving knowledge. For example, in the teaching of "Speaking New Languages of the World"? In Ode to Snow, I asked the students to discuss this problem: the teacher didn't comment on the metaphors of Xie Lang and Xie Daowen, but just laughed it off. So what do you think of the author's attitude and why? If you were to judge, which metaphor do you think is better and why? The students showed great enthusiasm. They are still learning with questions, so that students can feel the kindness of classical Chinese. Third, expand reading and strengthen students' interest in reading extracurricular classical Chinese. 1. Accumulate some ancient literary phenomena and historical knowledge. Ancient cultural phenomena refer to ancient rituals (utensils, tools, customs, names, places, etc.). For example, the word "scholar" in Debate and "Nine Days" in Morning Letters are ancient cultural phenomena. Another example is the story of Yueyang Tower to understand why Fan Zhongyan wrote Zheng Tong Ren before "rebuilding Yueyang Tower". Therefore, it is particularly important to supplement this knowledge in class. 2. Pay attention to the effective cohesion of ancient and modern meanings. We can use modern texts to help students better understand the meaning of classical Chinese. For example, we can talk about ancient Chinese knowledge in combination with idioms that students like to hear: the word "fake" in the preface to seeing Ma Sheng off to Yang is translated as "borrowing". We can contact Smith to impress the students. 3. Pay attention to the cultivation of knowledge transfer ability. It is far from enough for students to acquire the ability to read classical Chinese after class, so teachers should encourage students to read classical Chinese after class on the one hand, and on the other hand, they can let students do some classical Chinese exercises with appropriate difficulties related to the text to consolidate them. To get twice the result with half the effort. 4. There are various ways to improve the reading level of classical Chinese through writing. Can guide students to write "classical Chinese". Students can be given certain materials to express in the form of classical Chinese, not paying attention to how clever the writing is, but only using the learned classical Chinese vocabulary. For another example, students are required to graft the artistic conception of ancient Chinese into the reality of modern language that we are familiar with, and organically link ancient Chinese with modern Chinese.