Nafei
Perhaps because Wang Zengqi has been engaged in folk literature and art for a long time, his short story creation resumed in the late 1970s and early 1980s was obviously influenced by folk literature and art.. ..
Similar to The Commandment, The Notes on Making a scene adopts a folk narrative style, which is exactly the same as the narrative style commonly used in folk literature. This narrative has the following characteristics:
1. Imagine that the reader (implied reader) is a curious receiver of information. He didn't believe the narrative of this article, but regarded it as a "history" of people and their lives who were far away from themselves, in an ideal or in another world.
2. Folk narrative tone. For example, this paper adopts a straightforward narrative tone, short and pithy sentence patterns, and a narrative mode of "the trunk is prominent and the side branches escape" (this strategy is adopted by Liu Hao when he talks about his own affairs at length).
3. Folk narrative structure.
Drawing lessons from propp's analysis of the narrative structure of Russian folk stories, we can "deconstruct" The Chronicle of Big Noisy as follows:
Men and women fall in love (attracted and admired by each other's appearance or voice)-love is blocked-beautiful women are in trouble, heroes (men) rescue them-evil people peep and look for opportunities to destroy them-beautiful women are humiliated-heroes come forward to protect beautiful women-evil people attack heroes-heroes defeat evil people with the help of third parties-evil people are punished and punished. However, eleven sons have a mother who is almost blind, and Qiao Yun's family has a father who is half paralyzed. Their love can't be realized, so they have to hide it in their hearts. Then, Qiao Yun accidentally fell into the water, and eleven sons laid down their lives to save him, and the heroic image of the chivalrous man was completed. Beauty loves such a hero. This laid the groundwork for the final perfect combination of the following two. But the story doesn't end there, and the combination of hero and beauty has to go through setbacks and tests. So, the villain appeared, and this is Liu. He opened the door of Qiao Yun in the middle of the night. Qiao Yun was destroyed and humiliated by the wicked again and again, but she didn't want to die. She can't leave 1 1 a son and a paralyzed father. At this time, the eleven sons of the "Savior" bravely accepted her love and opposed Liu's violence with silent actions. Liu refused to leave the matter at that, rallied his troops and attacked eleven sons. The blacksmiths helped eleven sons, and Qiao Yun stood by them. The tinsmith protested the atrocities of the wicked with silent demonstrations. The county magistrate had to mediate. Finally, Liu was deported, and the injury of his eleventh son finally healed, and all shall be well.
From these analyses, we can see that the narrative of "Chronicle of Affliction" adopts the classic mode in traditional literature and folk literature-"All's well that ends well"+happy reunion. This is a "love mode" commonly used in traditional literature and folk literature. The folk characteristics of this narrative have also been confirmed.
Secondly, The Chronicle of Noisy also obviously draws lessons from some techniques of folk quyi. The descriptions of the brain environment and people living and moving in this space in the first, second and third sections of this paper just correspond to the props set and prologue on the Quyi stage. The bright white water seems to be the center of the stage and plays a silent and important role. In the center of Dalong is a long and narrow sandbar. There are several chicken and duck kang houses on the sandbar, with yellow chickens and ducklings. To the east is a pulp workshop, and there are several fresh goods shops and fish shops that buy and sell water chestnut, mushrooms, water chestnut and fresh lotus root. Big Bird is a rural area engaged in farming in the north. It can reach Yigou, Dog, Sanduo, Fan Chuan and Jieshou in the east, and reach Xinghua in the neighboring county directly. On the south bank of South Australia, there is a shipping company. To the south, the shipping company is a deep lane, which used to be the East Street outside the North Gate. To the west of the shipping company are all kinds of small businessmen, and to the east are hereditary porters. The land around the big bird is convenient to form a "world stage". The preface begins like this: all kinds of people are busy making a living-selling Tianzhu chopsticks, glasses, mountain red, making cans, picking rice and transporting tung oil ... they are very lively and endless. And those naughty children, standing in a row on the dock, urinating neatly in the water; There is also the brilliant kitchen smoke, which can't be scattered on the water of the great lake; There are girls and daughters-in-law who pick fresh goods, and the wind blows like willows; And the "old coquettish beard" and kannika nimtragol bet on jiaozi noodles, making them undress and jump into the ditch to take a bath. ...
The author is like a talented director, who arranges the stage with strange and antique props, directs various roles to move and fills the stage with life. After that, he put the main characters on the stage. The great play directed by the author is undoubtedly quite wonderful and fascinating. He created a beautiful stage through techniques similar to Quyi. Beautiful space.
What the author strives to pursue through this narrative is a beautiful artistic conception and a beautiful realm. In the narrator's field of vision, the brain and everything that lives and moves around it are beautiful objects, all of which radiate beautiful light. The scenery is beautiful, the people are beautiful, and the labor also gives people a sense of beauty: a dozen or twenty porters walk in a string, walking very evenly and quickly, with songs playing all the way. When changing shoulders, the first hand is placed on the shoulder pole, and the picture of one or twenty burdens is transferred from the right shoulder to the left shoulder at the same time; Twenty girls and daughters-in-law, dressed in flowers and plants, carrying a load of purple water chestnuts, green water chestnuts and snow-white lotus roots, walk in a long string, and the wind blows like willows ... even the children standing in the dock pee together, and the black and yellow cow dung on other people's walls can also constitute aesthetic objects and beautiful scenery.
The "beauty" presented in this paper can be divided into several levels: natural beauty (including beauty of scenery and color, such as the sandbar and smoke floating on the Great Lake), human beauty (good interpersonal relationship, local customs) and human beauty. The beauty of human nature is the highest goal that the author tries to achieve. The simple and innocent life of Danao people, the natural and unrestrained relationship between men and women, the wild and uninhibited woman, the open view of sexual love (the principle is "willingness" and willingness), and the touching love between the small tin smith and Qiao Yun ... all these are described by the author in a light style, thus shrouded in a simple and elegant beauty.
In the fifth part of this article, Qiao Yun's concern for eleven injured sons is an excellent rendering of this transparent and tangible human beauty. When Qiao Yun fed eleven children urine alkali soup, she called softly, which made him wake up from death and drank the urine alkali soup. And "I don't know why, she took a bite herself." This seemingly unremarkable detail reveals the spiritual world of the beautiful girl Qiao Yun, her loyalty and persistence to love and this persistent beauty. When the eleventh son finally spoke, Qiao Yun's conversation with him was more emotional, which fully showed the purity and sincerity of their relationship: the eleventh son thought that "I was worth it" for being beaten for love; In order to support two bedridden men, Qiao Yun made "living expenses" without thinking. It should be said that the author's intention to express the beauty of human nature has been fully realized: the characters in the works are not only vivid and vivid, but also beautiful and moving. In order to best express this transparent and tangible beauty of human nature, the author downplayed the tin-maker's parade with tragic colors: the tin-makers expressed their will with a silent resistance, which was as touching as a gang-colored parade in the Middle Ages.
In expressing the beauty of human nature, Wang Zengqi did inherit the tradition of Shen Congwen. The style and style of Wang Zengqi's works are similar to Shen Congwen's. The basic narrative structure of The Chronicle of Big Noisy can be roughly classified as "Border Town Model":
1. Personnel:
(1) Natural beauty (for example, Cui Cui in Border Town, Qiao Yun in Chronicle of Affliction, Xiaoying in The Dowager) is beautiful, kind and naive.
(2) Handsome men who love each other with beautiful women (such as Nuo seeing their parents off in Border Town, eleven children of a small blacksmith in Chronicle of Big Trouble and Xiao in Empress Dowager Cixi).
(3) A third party (a person who is not loved by beautiful women and wants to break the combination of beautiful women and handsome men, such as Liu in The Chronicle of Big Trouble).
(4) The father (or grandfather) of a beautiful woman, the father of a handsome man or someone who acts as a father (such as grandfather and Yang in Border Town, and the old tin smith in The Chronicle of a Big Fight).
2. Action space: a paradise-like "Xanadu", a simple, uncut and unpolluted "Utopia" atmosphere.
3. Basic action elements/functional chain: beauty and beauty fall in love-love is hidden or temporarily frustrated for some reason-a third party waits for an opportunity to invade and destroy the relationship between them, and the beauty father acquiesces or accepts-with the help of external force, the third party is forced to flee or die-beauty and beauty finally truly combine.
The "border town model" can also be used to analyze the commandments and other texts. This shows that this narrative mode is quite common. Due to the writer's personal style and regional folk customs, The Chronicle of Big Noisy, written in 1980s, presents a magnificent style different from Border Town. This is also a new thing that The Chronicle of the Big Noisy provides for China literature.
Similar to The Border Town, the author of The Chronicle of Big Noisy adopts an attitude of recognition and even appreciation for the life and lifestyle of the characters in the story. The author pinned his ideal and pursuit of beauty on the characters he created. However, different from Border Town, The Chronicle of Make a hullabaloo about suggests another way of life, that is, people who wear long clothes and read Zi Yue in the street. In the eyes of these people, Tai O people have a "bad atmosphere", and Tai O people have become "others" in the eyes of people on the street. Here, the author implies his own value judgment, that is, he does not agree with the morality and ethics of city people who have read Confucius, but appreciates the lively and lively lifestyle of noisy people. What the author affirms is such an ethics, which allows and accepts the full extension, expression and completion of everyone's humanity, and it does not tolerate "prohibition" or conventions and taboos. In this ethical atmosphere, all active people are natural persons.
At the same time, the author did not simplify the Aussie into a person with a face. In the words of an old tin smith, a character in the story, a businessman like a tin smith living in West End of London and a porter living in the East End of London are "different people". Most people who do business are "intruders" who move from other places and live in low-rise tile houses; In the east, there lived a thatched cottage, which was handed down from generation to generation as a porter and ate by shoulders. There are still some differences between these two types of "self-sufficient people": porters can better represent the "local" lifestyle, and they try to influence and assimilate those foreign businessmen with their "affinity". The two reached an agreement in the same anti-violence operation and eventually deported the saboteurs.
Chronicle of the Big Noisy tells some stories that happened in central Jiangsu during the Republic of China, which is similar to Border Town in time, but Border Town tells some stories that happened in western Hunan. The difference in folk customs between these two areas is obvious. The content of "nativity" makes these two works have their own characteristics, adding a touch of bright and magnificent color to China modern literature.