User:Remsense/wenyan

Grammar
Classical Chinese is a highly isolating language, wherein the significance of words—and consequently the meaning of phrases and sentences—is almost exclusively determined by elements of syntax, such as the order in which words appear. This distinguishes Classical Chinese from other literary languages like Sanskrit, Biblical Hebrew, and Ancient Greek, where grammar is based instead on inflections like affixes and conjugations that vary the form of words to indicate their function. Each written character is a single syllable in length, and almost always corresponds to a single independent word. Most characters impart little grammatical information in isolation and may function as one of several different word classes depending on context, though some are more limited in their possible meanings than others. Words written with the same character can either be cognate, such as possibly denoting either a noun meaning 'king' or a verb meaning 'to rule'—or the result of orthographic borrowing or variation, such as  possibly denoting either a noun meaning 'woman' or a second-person personal pronoun 'you'. These different senses may have the same or distinct pronunciations. While the language is often described as including nouns, verbs, adjectives, and prepositions, there is no firm consensus among linguists as to what word classes can be defined in Classical Chinese, if any. As a result, the intended meaning of some passages may be ambiguous or obscure, and may or may not be discerned with a broad understanding of context and the possible subtleties of each word.

The most basic and longest-standing distinction can be made between function words and content words.

Reference and exposure
Classical Chinese can be described as a pro-drop language, as its syntax often allows either subjects or objects to be dropped when the reference is understood. There are more pronouns compared to the modern vernacular—many of which are used as part of a system of honorifics. Classical Chinese also tends to use its pronouns less frequently, opting instead to drop the subject or object of a sentence entirely—contributing to a greater potential ambiguity as to who is acting upon whom in a given passage. Many final and interrogative particles are found in Classical Chinese. There is no copula:, which serves this function in modern Standard Chinese, is a near demonstrative ('this') in Classical Chinese.

Style and theory
Literary Chinese writing is distinctly terse and compact in its style. There is a general emphasis on maintaining parallelism and rhythm, even in prose. Additionally, certain rhetorical devices have been identified as of compared to that of other traditions.

Words that are multiple characters in length appear much more rarely than in written vernacular Chinese. While modern analysis of Literary Chinese often employs the concept of "words", such a concept was first clearly articulated by Chinese authors in the 5th century, in commentaries on the translation of Buddhist texts from Sanskrit. While written characters were always discretized and always correspond one-to-one with monosyllabic morphemes, abstract segments of language like,  , and   are not consistently defined from text to text, as they are for modern Chinese writers. There was a common preoccupation during the Classical period with names ; from the Shuowen Jiezi (c. 100 CE) onward, there was also a clear notion of characters.

Philosophical schools like the Mohists did not conceive of a system of formal logic constructed outside of the existing written language. Notably, syllogisms—deductive arguments using two propositions assumed to be true to prove a conclusion, the use of which were fundamental in classical Hellenistic and Indian philosophy—are almost totally absent from premodern Chinese writing.

Reading systems
Chinese characters do not directly reflect the sounds of speech, and generally do not change to reflect later sound changes in the words they represent. Efforts to reconstruct Old Chinese pronunciation began relatively recently. Literary Chinese is not read with a reconstructed Old Chinese pronunciation; instead, it is read with the pronunciations as categorized and listed in a rime dictionary originally based upon the Middle Chinese pronunciation in Luoyang between the 2nd and 4th centuries. Over time, each dynasty updated and modified the official rime dictionary: by the time of the Yuan and Ming dynasties, its phonology reflected that of early Mandarin. As the imperial examination system required the candidate to compose poetry in the shi genre, pronunciation in non-Mandarin speaking parts of China such as Zhejiang, Guangdong and Fujian is either based on everyday speech, such as in Standard Cantonese, or is based on a special set of pronunciations borrowed from Classical Chinese, such as in Southern Min. In practice, all varieties of Chinese combine the two extremes of pronunciation: that according to a prescribed system, versus that based on everyday speech. Mandarin and Cantonese, for example, also have words that are pronounced one way in colloquial usage and another way when used in Literary Chinese or in specialized terms coming from Literary Chinese, though the system is not as extensive as that of Min or Wu.

Japanese, Korean, and Vietnamese readers of Literary Chinese each use distinct systems of pronunciation specific to their own languages.

Qieyun
As pronunciation in modern varieties is different from Old Chinese as well as other historical forms such as Middle Chinese, characters that once rhymed may not any longer, or vice versa. Poetry and other rhyme-based writing thus becomes less coherent than the original reading must have been. However, some modern Chinese varieties have certain phonological characteristics that are closer to the older pronunciations than others, as shown by the preservation of certain rhyme structures.
 * Brushtalk

Japanese kanbun
is a system for reading Literary Chinese invented by Japanese speakers following the introduction of writing to the country. Its scope eventually grew to encompass a literary style where the Japanese language itself was written with Chinese characters. Until the 20th century, much Japanese literature was written using. Japanese and Chinese are from different language families, and differ considerably in their grammar and syntax. For example, Chinese generally uses subject–verb–object word order (SVO), while Japanese uses subject–object–verb word order (SOV). included annotations to aid the reader, such as 'return markers', which indicated how to successfully read Literary texts using an SOV word order.

Romanizations
Romanizations have been devised to provide distinct spellings for Literary Chinese words, together with pronunciation rules for various modern varieties. The earliest was the Romanisation Interdialectique by French missionaries Henri Lamasse of the Paris Foreign Missions Society and Ernest Jasmin, based on Middle Chinese, followed by linguist Wang Li's based on Old Chinese in 1940, and then by Chao's General Chinese romanization in 1975. However, none of these systems have seen extensive use.

Category:Classical Chinese
 * Classical Chinese lexicon
 * Classical Chinese grammar
 * Chinese classics
 * Old Chinese
 * History of the Chinese language