Liu Fu

Liu Bannong

Liu Bannong (May 29, 1891-july 14, 1934), Jiangyin, Jiangsu Province, formerly Shoupeng, later named Fu, initial character half Nong, later changed to Bannong, later Quan, pioneer of Chinese New Culture Movement, writer, linguist and educator.

He took part in the revolution of 1911 in the third year of Xuantong of the Qing Dynasty. After 1912, he made a living in Shanghai by contributing to the newspapers of Yuanyang butterfly school. In 1917, he became a preparatory professor of law at Peking University and participated in the work of New Youth magazine. He actively participated in the literary revolution, opposed classical Chinese and advocated vernacular Chinese. In 1920, he went to London University to study experimental phonetics. In the summer of 1921, he transferred to Paris University to study experimental phonetics. In 1925, he received a doctor's degree in French national literature, and his book, an experimental record of Chinese phonetics, won the French Constantine vonney prize for linguistics. In the autumn of 1925, he returned to China and became a professor of Chinese Department of Peking University, teaching phonetics. He died in Beijing in 1934. The main works are poetry collection "Yang Bian Ji", "wa Fu Ji" and "ban Nong Za Wen".

Life of the characters

In 1891, he was born into a poor intellectual family in Jiangyin, Jiangsu Province. He was very intelligent since he was a child. At the age of 6, he could write couplets and chant poems.

In 1907, he was admitted to Changzhou Fu middle school with excellent results.

In 1911, he returned to his alma mater hanmolin primary school as a teacher and worked with Wu Yanyin and other scholars on Jiangyin magazine. During the revolution of 1911, he went to Qingjiang to join the revolutionary army and served as a writer.

In February of the first year of the Republic of China (1912), he returned home because he was dissatisfied with the internal chaos of the army. In March of the same year, Liu Bannong and his brother Liu Tianhua went to Shanghai to make a living and worked in Kaiming Opera Club.

In the spring of 1913, he worked as an editor and interpreter in Zhonghua Book Company. He is diligent in writing, and has published more than 40 novels translated and created by him in current affairs news, fiction world and other journals, introducing the works of Andersen, Dumas, Tolstoy, Turgenev, Gorky and other famous writers.

In 1917, he published "my view of literary improvement" and other articles in the new youth, which put forward profound views on the form and content of literary revolution. In the summer of the same year, Cai Yuanpei, President of Peking University, was employed as a professor of Chinese in Peking University.

In January 1918, he participated in the work of new youth. In March of the same year, he published the book of Fuwang Jingxuan in the new youth, criticizing the views of opposing the literary revolution and defending the old feudal literature.

In the spring of 1920, Liu Bannong went to Europe for further study. He first entered London University College and worked in the speech laboratory.

In 1921, he was transferred to the University of Paris, France, where he studied experimental phonetics.

In 1925, he received a doctor's degree in French national literature and became the first Chinese to be awarded the highest academic title in the name of a foreign country. In August, Liu Bannong wrote a poem "teach me how not to think of her" on the sea liner returning home. In the autumn of the same year, Liu Bannong was a professor in the Department of Chinese language and literature of Peking University and a tutor in the Department of Chinese Studies of Peking University Research Institute. He established the laboratory of Chinese musical temperament and became the founder of Chinese experimental phonetics.

In April 1933, together with Qian Xuantong and other 12 people, he issued a fund-raising letter for the public burial of martyr Li Dazhao in the newspaper, and wrote a tombstone and epitaph.

In June 1934, in order to complete the compilation of the new spectrum of four tones, the dictionary of local sounds and the map of Chinese dialects, he braved the scorching heat to investigate the local sounds along the Ping Sui railway in Suiyuan and Inner Mongolia. Unfortunately, he contracted the disease of "regression fever". He died in Peiping on July 14 at the age of 44.

Personal achievement

Literary ideas

In the sixth year of the Republic of China (1917), I published my view of literature improvement, which holds that literature should express its true feelings; only by overthrowing the dead form of the ancient writing which suffocates the soul, can new literature develop. The author holds that classical Chinese and vernacular can be treated temporarily before vernacular has gained the orthodox status. Vernacular should absorb the advantages of classical Chinese, and classical Chinese should strive to be simple and obvious so as to be similar to vernacular. It proposes to destroy the old rhyme, reconstruct the new rhyme, increase the poetic style and compose music in the present language. The article should be segmented and New Punctuation should be used. Later, he published the spiritual innovation of poetry and fiction. When introducing the literary thoughts of Johnson and van Dyck, they emphasize the authenticity of literature and criticize the false literature which deviates from reality. Liu Bannong first from the "form" point of view, with western literature as a reference, and strive to achieve literary change; secondly, with a practical attitude towards classical Chinese and vernacular, to form their own views on the literary language change; thirdly, to promote the formation of a unified language of modern nation-state, made concrete and practical efforts to create new punctuation.

In the aspect of novel reform, he proposed to use historical, systematic and comparative methods to study novels, so as to promote the prosperity and progress of novels. He also made speeches on "positive and negative lessons of popular novels" and "Chinese inferior novels", emphasizing the social role of novels and the importance of studying popular novels with the masses.

The study of modern Chinese folk literature and art began with the Peking University Ballad Movement in 1918. Liu Bannong, as the initiator and moderator of the Ballad Movement, advocated the creation of new poetry and learning from ballads, which improved the position of ballads in literature and made preparations for the introduction of ballads into the field of vision of researchers. He initiated the collection and research of ballads, which brought folk literature into the field of vision of academic research and made it compete in the academic circles His collection and research methods of folk songs, his definition of folk literature and related concepts, his multi-disciplinary perspective and folk stand in the research have made important contributions to the discipline construction of modern Chinese folk literature and art.

In the aspect of classical literature, the school published Tang Hanxing's Xiang Lian Ji, Qing Dong Ruoyu's Xi you bu and Zhang Nanzhuang's he Dian. He wrote the biography of Dong Ruoyu, the author of reading the biography of flowers on the sea and the supplement to the journey to the West.

Liu Bannong is one of the first writers to translate foreign prose poems. He is also the first translator who introduced Gorky's works to China and translated Dickens, Tolstoy and Andersen's works into Chinese. He has his own unique views on phonology in translation. This paper holds that tone is something that can not be transferred, which is very important for the expression of artistic works' appeal. Therefore, it advocates that translation should be based on literal translation. While faithfully translating the original meaning of the original text, we should try our best to preserve the language way of the original text, and to translate the true feelings of the original text. When Liu Bannong translated poems, he often regarded the original as music and song, and thought that it was equivalent to Chinese Ci and Qu, that is, he could sing after composing a song. Therefore, he chose the form of five character ancient style in his poetry translation, which guaranteed the music quality of his poetry translation. His translations mainly include French short stories and Camellia girl.

Language Science

In the field of language science, his research involves pronunciation, writing, vocabulary, grammar and other aspects.

In foreign countries, Liu Bannong studied experimental phonetics and devoted himself to the study of Chinese tone. He tested the four tones of twelve Chinese dialects and wrote the experimental record of four tones. He pointed out: the four tones have nothing to do with the strength of the sound, but have something to do with the quality and length of the sound, and it is the pitch that determines the four tones. This kind of high and low is a compound sound, which moves from one sound to another. When moving in, it is slippery, not jumping. This conclusion has scientifically solved the problem of what four tones are. After returning to China, he set up a music law laboratory in Peking University, recording more than 70 dialects. According to the phonemes of more than 70 dialects, a list of phonetic symbols used in the investigation of Chinese dialects has been compiled. In 1932, he wrote the table of phonetic analysis of Beiping dialect, which can be divided into six parts: head, face, neck, abdomen, tail and spirit. In addition, he has written many papers on phonetics, created and improved the sound measuring instrument, and translated Paul Passy's Compendium of comparative phonetics. He has created two kinds of Liu's sound drum, tone inference ruler, simplest pitch inference ruler and four tone simulator. He recorded more than 70 dialects in China, and also tested the ancient music rhythm with the help of instruments for studying phonetics.

Liu Bannong advocated the reform of Chinese characters, and believed that Chinese characters should eventually take the road of Pinyin. In 1925, he initiated the establishment of "several people's Association". After 22 discussions, he drafted the Romanization of Mandarin. He believed that before the implementation of pinyin system, it was necessary to write simplified characters. Therefore, he and Li Jiarui compiled the spectrum of common characters since Song and Yuan Dynasties. This book shows the evolution of Jianbi characters in the past eight or nine hundred years.

In 1925, he proposed to the Institute of Peking University the outline of the plan for compiling the Great Dictionary of China. It cannot be achieved because of the large amount of funding required. In 1931, the compilation of University dictionary was stopped because of lack of funds. In 1933, he compiled the dictionary of standard Chinese phonetics for Beixin publishing house, which contains more than 9000 words. In the appendix, he created the dianzhiqu Jiezi method. He also wrote more than 300 pages of "one" manuscript for China dictionary. In addition, he wrote articles such as Da Ya. He also advocated the use of "she" and "it" as pronouns.

In terms of grammar research, in 1919, Peking University published his general theory of Chinese grammar. He is not satisfied with the system of Ma Shi Wen Tong which mechanically imitates foreign grammar

Chinese PinYin : Liu Fu