笠翁对韵/新课标全悦读系列

by Li Yu, 李渔

《笠翁对韵》是教导孩子掌握声韵对仗、学习诗歌写作的启蒙读物，作者为明末清初著名文学家李渔。《春雨教育·国学经典启蒙书院：笠翁对韵小学》分为上下两卷，分为平声三十韵，每韵分为若干段，每段文字由对仗工稳的韵文构成。从一字对至十一字对，声韵协调，朗朗上口。除了丰富的文字、音韵、修辞等方面的训练，《笠翁对韵》还包含了大量的社会生活、自然科学等方面的知识以及古代传说、名人故事等，自问世以来，《笠翁对韵》一直用于诗歌学习的启蒙教材，广受教师和家长的欢迎。在国学复兴的今天，《笠翁对韵》使用范围也更为广泛，成年人写作诗歌亦多查考《春雨教育·国学经典启蒙书院：笠翁对韵小学》，其蕴含的丰富内容越来越受到各方的重视。

Paperback

First published January 1, 2011

About the author

Li Yu (Chinese: 李漁; pinyin: Lǐ Yú, given name: 仙侣 Xiānlǚ; style name: 笠翁 Lìwēng) (1610—1680 AD), also known as Li Liweng was a Chinese playwright, novelist and publisher. Born in Rugao, in present day Jiangsu province, he lived in the late-Ming and early-Qing dynasties. Although he passed the first stage of the imperial examination, he did not succeed in passing the higher levels before the political turmoil of the new dynasty, but instead turned to writing for the market. Li was an actor, producer, and director as well as a playwright, who traveled with his own troupe. His biographers call him a "writer-entrepreneur" and the “most versatile and enterprising writer of his time”.

Li is the presumed author of Ròu pútuán (肉蒲團, The Carnal Prayer Mat), a well-crafted comedy and a classic of Chinese erotic literature. He also wrote a book of short stories called Shí'èr lóu (十二樓, "Twelve Towers"). In his time he was widely read, and appreciated for his daringly innovative subject matter. He addresses the topic of same-sex love in the tale Cuìyǎ lóu (萃雅樓, "House of Gathered Refinements"). This is a theme which he revisits in the collection Wúshēng xì (無聲戲, "Silent Operas" i.e. "novels") and his play The Fragrant Companion. The painting manual Jieziyuan Huazhuan was prefaced and published by Li in Jinling.

Li was also known for his informal essays, or xiaopin (小品), and for his gastronomy and gastronomical writings. Lin Yutang championed Li and translated a number of these essays. Li's whimsical, ironic "On Having a Stomach" proposes that the mouth and the stomach "cause all the worry and trouble of mankind throughout the ages." He continues that the "plants can live without a mouth and a stomach, and the rocks and the soil have their being without any nourishment. Why, then, must we be given a mouth and a stomach and endowed with these two extra organs?" Lin also translated Li's "How to be Happy Though Rich" and "How to be Happy Though Poor", and "The Arts of Sleeping, Walking, Sitting and Standing", which illustrate his satirical approach to serious topics