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This paper is a part of study on monk calligrapher and poetry of monk calligrapher who were engaged in activities since the beginning of Tang Dynasty. Since I can not deal with all the poems on calligraphy and monk calligraphy of many generations in one short essay, I first selected and analyzed Cursive song poetry on the Huai Su's Cursive style of writing. Among the numerous monk calligraphers, Huai Su's calligraphy and poetry created by contemporary poets have been passed down to the present day, and since then Huai Su is represented as a typical monk calligraphy. Since the date of birth and entire life of Huai Su was not even clear yet, in the first chapter, I tried to summarize the life of Huai Su. And in the next chapter, I selected and analyzed 13 pieces of Cursive song poetry on the Huai Su's Cursive style of writing in Tang Dynasty, and 15 pieces of that in next many dynasties. Based on this, I summarized the poetic characteristics of Cursive Song Poetry on the Huai Su's Cursive style of writing of many generations in four areas such as title, form, content, and expression technique.

From ancient times in China, ‘Elegance’ and ‘Inelegance’ has been used in the evaluation of poetry and prose. In the song Dynasty, the investigation was more detailed and richer in content about discussion of The ‘Elegance and Inelegance’ Poem Theory with poetry due to the influence of social and cultural changes, and the spirit of pursuing against vulgarity. A new theory has also been raised in relation to ‘Inelegance’. In the aspects of the exploration of ‘Elegance’ and ‘Inelegance’, the creation of ‘Elegance’ and ‘Inelegance’ and the evaluation of ‘Elegance’ and ‘Inelegance’, we can examine the features of The ‘Elegance and Inelegance’ Poem Theory in Song Dynasty. The ‘Elegance and Inelegance’ Poem Theory has become one of the most representative and core contents of the poetic theory of Song Dynasty.

Zhao Fen is a female writer in the middle of Qing dynasty. She was good at poetry and ci. She was also great on history. First, she actively promoted female writers to publish their own works, so she was known as a individualistic female writer. Second, about the standard of women's entry into history, she valued talent and virtue, did not valve integrity, so she recorded different types of women in the form of poetry and biography. Third, Zhao Fen also advocated if a woman had women virtues, whether her works were good or bad, she should be handed down to posterity. Not only that, she also considered that women could be expound their ideas in writing like men. Zhao Fen's concepts embody her attitude of valuing morality over talent and also embody that the literature ideas of female writers were regressive in the middle of Qing dynasty. But on the other hand, these concepts broke through the limits of feudal ethical code and opened the ways for women's writing and publishing justifiably.

Nalan's lament Ci(悼亡词) is the representative work of Chinese lament poems. Previous studies on his poems were carried out from different angles, but the application of the linguistic theory is not enough, the interpretation of his works from the perspective of cognitive linguistics iconicity theory is yet to be seen. This paper intends to apply the theory of iconicity to analyze iconicity phenomenon of Nalan's poems, in order to better understand the deep meaning and aesthetic value, provide a new perspective for the interpretation of his poems. Iconicity theory has gained increasing attention in the wake of the development of cognitive linguistics. Several iconicity principles have been put forward including the iconicity of phonology, the iconicity of quantity, the iconicity of sequence, the iconicity of markedness, the iconicity of proximity etc. These principles reveal how language imitates the external world, human experience and human thoughts. This thesis makes an attempt to analyze Nalan's lament Ci under the first four iconicity principles in the hope to find out how iconicity works in Nalan's Ci text, further more, to recognize and feel the connotation and aesthetic sense of his poems. Based on the analysis of Nalan's lament Ci from the perspective of iconicity, this study finds out that the iconicity of phonology brings a reverberation of inner emotions, and the iconicity of quantity increases the emotional content of text, the iconicity of sequence brings a sense of integration to the reader, the iconicity of markedness inspires readers' expectation of reading. Iconicity analysis tells us that the language in a poems has multipledimensions of expression. Poetic words has the naturalness and truly expressive, with artistic appeal, so that readers can feel the author's true feelings as if he is in the same situation.

This thesis mainly solves two major problems. First, we will explain the reasons for the existence of three phenomena from the perspective of collocation frequency. For example, “HaoBu AnFen” means negative meaning, “HaoBu KuaiLe” means positive meaning, “HaoBu ZiZai” means both negative meaning and positive meaning; The second is to explain the negative meaning of “Hao RongYi” from the perspective of pragmatic frequency. There is a high frequency of collocation between “BU” and “A(Moral word)”, So the structure between BU and A(Moral word) is compact, “BU” is a negative prefix for “A(Moral word)”, So “HaoBuA(Moral word)” is that “Hao” plus an egative structure, Thus, “HaoBu A(Moral word)” means negative meaning. because of The frequency of collocation between “BU” and “A(Negative words)” is low, they're loosely structured, In history, “Hao” mainly modifies negative words, and “BU” has the possibility of being an affix,in addition, the Chinese culture has the habit of pursuing the symmetry of the double tone, So “HaoBu” becomes an adverb, Thus, “HaoBu A(Negative words)” means Certain meaning. And because of the analogy mechanism, When “A” is A positive word, it also means something. In the historical literature, we find that the word “RongYi” is mostly used in negative, rhetorical and negative contexts, so it has negative semantics. Therefore, when it modifies the positive verb, it expresses the negative meaning and conveys the meaning: it is not easy to succeed. A negative or difficult conditional sentence is also shown or implied in a sentence. This is the effect of high frequency collocation. As for the word “HaoBu RongYi”, it is the latter people that considers the negative meaning of “RongYi” to be less obvious, thus adding a negative word to make the negative meaning explicit.

The Nogeoldae, the Baktongsa and the Yeogeoyuhae are three books that were written at the end of the seventeenth century. These books have been widely used to study Chinese. The “the vulgar sound” and “the rest pronunciation” discussed in the explanatory part of the Yeogeoyuhae recorded a variety of Chinese pronunciations used at that time. In the history of the Chinese language, phonetic changes have provided important references. According to the analysis discussed this paper, “the vulgar sound” and “the rest pronunciation” in the Yeogeoyuhae have been included in the modern pronunciations (i.e., the vernacular pronunciation and the classical pronunciation), the pronunciations used in the Yuan Ming and Qing dynasties, the pronunciation preceding the Yuan dynasty, and the dialects. In addition, the etymology was different from that contained in the Guangyun. The Yeogeoyuhae’s right pronunciations recorded the usual pronunciations, but there were also many folk pronunciations. Among these pronunciations, some had already been adopted as the modern pronunciations, some had disappeared except as part of the folk pronunciations, and some of them came from the dialects.

When translating, one expression of the target language may be translated into various expressions. At this moment, choosing the proper translation method among the various translation methods always causes the translators to be confused. When translating the Korean suffix ‘-적’ into Chinese, this is also the case of ‘one-to-many’. There are four types of translations that correspond to the suffix ‘-적’ when translating the ‘X적’ into Chinese: ‘的, 上的, 性的(式的, 型的), and Ø’. The purpose of this study is to find out how to choose the right one in these four translation methods. The reason for this is not the difference in the structure of lexical semantics between the two languages, but the various meanings are embedded in the suffix ‘-적’ for reasons such as differences in etymology. In other words, the suffix ‘-적’ is usually understood in a single meaning, but in fact there are various meanings, so when translating it into Chinese, it is inevitable to translate variously. Therefore, the precise understanding of the meaning of the suffix ‘- 적’ in the sentence became the key to translating this into Chinese naturally.

Chinese language and Korean language are considered to be two disparate linguistics under morphological classification. Their distinct characteristics can be found in use of vocabularies; monosyllabic words for Chinese and polysyllabic words for Korean. Therefore, this article aims to present correcting and learning methods for accurate pronunciation of Chinese finals by marking appropriate phonetic transcription as Chinese language require more prolonged accents than Korean language(which is abbreviated into a syllable). First, single vowels such as /a, i, u/ are marked in this article as ‘아아’, ‘이이’, ‘우우’ to emphasize prolonged accents. Explanation of both Chinese and Korean phoneme systems are provided in the text to help overcome pronouncing single vowels like /ü/, /o/, /e/, which Korean people often find challenging to pronounce. Second, compound finals and nasal finals are written in trisyllables like /아아이/(/ai/) and /아아안/(/an/) to emphasize its prolonged sound, longer than previous monosyllables or disyllables. Third, in order to overcome difficulties in pronouncing medial, combined finals connected with /i/, /u/, /ü/ medials are classified into three sets of combination; medial with single vowel, medial with diphthong, and medial with nasal vowel. The article's attempt will give more accurate phonetic transcription method for Chinese pronunciation than previous ones, as well as improving pronunciation among Koreans which is often impeded by their mother tongue.

≪BiJiManZhi≫ established a comparatinely complete theoretics system concerning The origin and ontology of Ci poetry in view of philosophical cosmologist genesis and dualism. Wang Zhuo(王灼) put forward the following Ci Poetry of the Central Ideas. Wang Zhuo is literature, theorists during the southern song dynasty. He achieved some success In the fields. His ≪BiJiManZhi≫ is the highest achievement. That is the earliest extant a ci theory monographs. This monograph related to Music and the relationship between Ci, the Ci origin, Ci criticism and so on. That is a high works of data value and academic value. This article uses the The first part with a longitudinal perspective Wang Zhuo for CI, CI origin theology and part of speech features are discussed. The social background and scale master piece of Ci that had mainly probed the sources and evolution of poetry, ci and the southern song dynasty, made the question of their clear to break through then sterotypes of ci the southern song dynasty to live up to Ci for Poetry and offered the theoretical proofs for remaining the song like literary traits of ci.