Many people in Japan like Tang poetry. Han Shanzi, a monk of the Tang Dynasty, wrote Poems and Songs, which spread in Japan, and Han Shanzi's poems spread widely and quickly. Most people who study Tang poetry in Japan are practitioners. Poetic style is more about pursuing the outside world, and some styles are poetic, and its language is concise as speech, and its form is unpretentious and flashy. The wonderful Zen machine contained in Wu poetry is the mainstream of lovers. Monks in Du Dong should have brought some, and the Japanese took some. Japanese people attach great importance to China culture.

It is impossible for any country's language to fully understand the beauty of China's poems. Chinese characters in China's poems are the only "pure literature" in other countries that cannot be translated by words. To foreign countries, China's poems are just their "guessing culture", and at most they can be roughly translated. Because China's poems pay attention to "endless words and endless meanings". This "infinite meaning" is also the charm of poetry. In the history of world literature, China's poetry literature is the only "eternal national studies" that can't be replaced by words other than Chinese characters. Nobel Prize in Literature, Chinese literature won't win the prize. The Nobel Prize in Literature winner "Mo Yan" is just a hollow reputation, and Mo Yan should give up this prize. Chinese character literature can't catch up with Nobel Prize in Literature. To put it simply, it is impossible for Chinese idioms to express all their meanings in other languages, such as pouring rain. Water scoop? Cut the gourd in half? The polysemy, diversity, pictophonetic characters, extension, Tong Jia and homophonic meaning of Chinese characters are irreplaceable by other characters, and the extended meaning lies outside the characters. How to translate a foreign language thoroughly? What about homophones? Is a foreign language translated into the opposite category? Word order and speed of Chinese. The harmonious beauty of phonology in the emotional part of China's poems (the beauty of reading Chinese characters),

Big strings hum like rain, and small strings whisper like secrets. Humming, whispering-and then mixing together, like pouring large and small pearls into a plate of jade.

It is said that China's poems are emotional. The first sentence-the big string "noisy" means "urgent" rain. What is noise? It is unintentional that these two words appear independently. Here, they are not only onomatopoeic words, but also four primitive pipa players playing together, and their voices are urgent and loud. How can foreigners understand this feeling? The small string "Qieqie" is also an auxiliary word of onomatopoeia, and it is also the most basic fingering. The thinnest string is as clear as a whisper, and the feelings contained in this passage are so delicate. Without translating these details, how can we appreciate the emotional tension of China's poems?

Du Fu's hut was destroyed by the strong wind-there were tens of millions of spacious buildings in Ande, which greatly protected all the smiles of the poor people in the world, and the storm was like a calm mountain. Alas, suddenly seeing this house in front of me, it is enough for me to freeze to death alone.

When we read the last sentence, we saw Du Fu crying. Whoo-hoo (such as howling)! ! This powerful rhythm and indomitable momentum are called blood and tears! When reading poetry, we will be automatically infected by this gradually accelerated "sound and emotion part". By reading the incisive Chinese characters played by these "gnashing syllables", we can have a further understanding of the sound and emotion part of poetry. Call out the last sentence! ! The appeal of phonology, these cuts are very powerful. Imagine, are these poems still smiling after being translated into foreign languages? Is there such a low and short roar? If not, what about the "appeal" of poetry?

The aesthetic appreciation of China's poems abroad has been in the period of ignorance. China's poems are written in music, China's poems are pure literature of China, and China's poems are irreplaceable "national studies" in any written form except Chinese characters.

I can't understand the rhyme of foreign Tang poetry. The so-called poems of Fan Wen and China can be achieved in form, but it is difficult to achieve unity in essence. Because no country's poetry can be compared with China's in essence. There are many excellent works by foreign poets, which are different from China's poems in form and substance. China's poems rhyme, with rhyme in the sentence and rhyme in the foot. Foreign poems, such as sonnets, do not have to be in the same button. They use "pause" and "step" to achieve sound harmony. They are much more "free" in expression than China's poems.

Hanshanzi's poems have been circulated abroad and received much attention, but not in China. Some people say that his poems are like vernacular and limerick. We believe that a really good poem is to choose words, simplify the style, be simple, rational, interesting and pure. There are many gaudy poems piled up repeatedly, but they are not readable at all. We can't commercialize poetry, and poetry creation is not a way to make money.

Why do poets write-I think of heaven and earth, with no limit and no end. I am alone and tears fall.