1.
Because Lu Xun’s essays were the strongest in spurring and criticizing the society at that time. Most of his essays, poems, and novels are personal resentments against China's uncontested society. Moreover, the content of essays is as concise as a dagger, while most novels and other literary forms are too tactful and require readers to calm down and understand. Essays, on the other hand, are much more direct and can be written faster.
Han Han also relied on essays to criticize current affairs, which have different values ??but similar meanings.
Lu Xun also wrote some essays, which express his thoughts and feelings in a subtle and tortuous manner through "qubi". As we all know, "qubi" was originally the product of reactionary political persecution in old China. Lu Xun once said this in the "Preface" of "Lace Literature": "It was really powerful at that time. It is impossible to say that, and it is impossible to say that. Unsuccessful... Under this kind of assassination, if you can survive and meet the readers, then what is a non-slave article? "Knowing this situation, we understand some of Lu Xun's essays, so we use "Qubi". , it was originally a last resort. Some people regard "qubi" as Lu Xun's writing style, as if Lu Xun always liked to write in this way. This is a big misunderstanding. In fact, whenever possible, Lu Xun always tried his best to write his articles clearly. Since "qubi" is the product of political persecution, it is not a conventional artistic technique. It needs to adapt to different themes, deal with different political environments, and adopt different methods of expression. Some use metaphors throughout, such as "Modern History". The content is about magic tricks, and they squeeze money from the audience again and again. Today this group of people is gone, and tomorrow the same group of people will come again. There is not a single sentence in the whole article that touches on the politics of the time, but anyone with a discerning eye will know at a glance that this is the modern history of the reactionary Kuomintang government. Some use irony throughout the text, and there are also many methods such as telling stories, quoting ancient times and the present. For this type of essay, we mainly understand its combat function and significance without having to learn its obscure and tortuous form, because today is fundamentally different from the era in which Lu Xun lived.
In short, Lu Xun's essays are rich and colorful in form and eclectic in technique. They are all fresh and original, giving readers timeless artistic enjoyment. This is not only because his advanced and profound ideological content is helpful for his artistic discovery, but also because he has rich life experience and experience, and has an inexhaustible treasure house of knowledge. In addition, his careful conception and tempering during the writing process are also very important conditions. "Even if you write a short review of three to five hundred words, you don't just open the paper and start writing." He once said: "People say that these short articles are worthy of such frivolity, but they don't know that although these articles of mine are very short, I have racked my brains a lot, tempered them into extremely sharp blows, and read many books. These purchase reference books The combination of the material resources and one's own energy is not easy." ① This attitude of hard work and excellence is very worth learning. Let us seriously study the combativeness and artistic expression of Lu Xun's essays, and better utilize the role of essays in attacking enemies and educating the people.
2. Summary: Yu Dafu is a writer with a unique artistic style in creation. He has made rich and substantial preparations before starting to create. His works expose the "diseases of the times" and "autobiography". "The form and strong subjective lyricism are different from the works of other writers. His early novels truly and artistically left an extremely complex profile of the times, enriching the treasure house of modern Chinese literature.
Keywords: Artistic style, influenced by Chinese and foreign literature
Yu Dafu’s novel writing spanned 15 years from the beginning of "The Sinking" in 1921 to the completion of "Escape" in 1935. Year. During this long period of time, after experiencing the baptism of the times and the transition between ancient and modern cultures, Yu Dafu went through three stages in creation: In the early stage, in 1926, Yu Dafu, Guo Moruo and others established the Creation Society in Tokyo and decided to publish " Creation Quarterly. From this year onwards, Yu Dafu successively wrote "Silver Death", "Sinking", "Moving South", etc. Later, he successively wrote autobiographical novels such as "The Vast Night", "Autumn Willows", "Wind Chimes", and "Tataluo Xing". "Sinking" is the representative work of this period. The creations of this period are mainly autobiographical, with strong subjective lyricism, melancholic lyrical style and distinctive modern colors, which show the maturity of the author's typical style. In the mid-term, after Yu Dafu returned to China in 1922, due to his poverty situation and his study of Marxism, he began to pay attention to the lives of the lower class people, and wrote the earliest work describing the lives of workers, such as "The Evening with a Drunken Spring Breeze". The novel is presented as a "story" The emergence of the early strong subjective color has been significantly weakened, showing the trend of objectivity and reality. In the late period, in 1926, Yu Dafu went south to Guangzhou and moved to Hangzhou. During this period, "Chi Osmanthus" was the representative work. The deliberate pursuit of artistic realm was the biggest artistic feature of this period. Yu Dafu wrote more than 50 novels in his life, which can be roughly divided into the above three creative stages and two artistic styles, which reflect the author's unique aesthetic pursuit and contradictory personality ideals. Such stages are related to the changes in the author's living environment and ideological concepts. Basically consistent. The following mainly introduces the artistic style of his early novels.
1. The artistic style of early novels
In October 1921, the first collection of novels in the history of modern Chinese literature, "The Sinking", was published. At that time, "in China's haggard society, it seemed that A spring breeze blew and immediately awakened the hearts of countless young people."
[1] As soon as the novel was published, it caused a great sensation and became one of the best-selling books at the time. After "The Sinking", Yu Dafu wrote other early novels such as "The Vast Night", "The Homesick Man", "Autumn Willows" and so on. The basic feature of these works is that through the portrayal of the abnormal psychology of young people and the description of the anguish of love and social anguish, they express the inner calling of the young people who were suffocated by the times in such a historical period, and express their anguish and hesitation. The demand for individual liberation. He used bold descriptions to reflect the "disease of the times", that is, the irritability and depression of young people, and reflected an era from one side.
⒈ Exposure of the "disease of the times"
After the outbreak of the May 4th Movement, the slogan "Oppose the old culture and promote the new culture; oppose the old morality and promote the new morality" was put forward. The ideas of liberation and self-expression swept across China. The vast number of petty bourgeois young people rose up to overthrow the old traditions and embraced romantic impulses to praise love and look forward to the future. But most of them were separated from the masses, which would inevitably lead to the failure of this movement. After the climax of the May Fourth Movement passed, reactionary forces became rampant again. The ideal of individual liberation lost its basis in reality, but no resistance could be found. The powerful weapons and solutions of the dark forces, so depression and hesitation have become a common "disease of the times". Yu Dafu's description of this "disease of the times" is undoubtedly an impact on the old system, old culture and reactionary forces, and has progressive significance.
The "diseases of the times" described in Yu Dafu's novels are mostly caused by the disillusionment of ideals. For example, the protagonist in "The Sinking" suffers from depression. There are many reasons for his depression. "He thought that he was different from other students"[2] and "too active in his mind"[3], so when he was seventeen years old, he entered the preparatory course of H University, which was founded with donations from the Presbyterian Church in the United States. He was dissatisfied with the school's Rules and regulations, "There is a prayer meeting on Wednesday night, and you are not allowed to go out on Sundays" [4] and so on, seriously restricted the development of his personality. "There was always some resistance in his heart." Later, he finally refused to obey and dropped out of school. , and changed schools several times, but finally had to drop out. At the same time, due to family financial difficulties and other reasons, he lived in seclusion in his study. "It was about this time that the roots of his depression were successfully cultivated." This shows that the protagonist's morbidity is not innate, but caused by his sensitive and flexible nature being bound by feudalism and not tolerated by society. Later, his "melancholy" became more serious because he was born in Japan. The status of "people of a weak country" is the result of being looked down upon and humiliated. Obviously, the root cause of this disease of the times lies in society.
Yu Dafu’s descriptions of “diseases of the times” are often associated with the poverty and weakness of the motherland. It can also be said that the latter is the cause and the former is the effect. The fate of the morbid protagonist in the work is closely connected with the fate of the motherland. Before committing suicide, the protagonist of "The Sinking" even cried out sadly: "Motherland, motherland, you are the cause of my death." !
Get rich soon!
You still have many children suffering there!”
This cry is of blood and tears. crystallization! It is a cry from the heart after suffering countless humiliation and abuse! The protagonist is a tragedy, a tragedy caused by the poverty and weakness of the country. In Yu Dafu's early novels "The Vast Night" and "Wind Chimes" we can also see that the author regards the poverty of the motherland as the cause of youth diseases. When expressing the desire for individual liberation, it also shows the spirit of patriotism and anti-imperialism. In the early 1920s, there were not many literary works that directly showed anti-imperialist consciousness, so chapters such as "The Sinking" were particularly valuable in this regard.
⒉ Strong subjective lyricism
In traditional novel writing, the story is the core of the novel and the plot is the specific narrative form of the story. Yu Dafu's novels completely changed the traditional aesthetic characteristics of novels, and brought a kind of subjective lyricism into the novels. "The emotions that come from are not afraid of the height of the mountains or the depth of the sea. Even if they are overwhelming, they will not hesitate." [ 5]. He said that the state in which he wrote novels is "just like when a person feels pain, he has to scream, and the scream he can afford to scream, is it a low tone or a high tone?" [6] His novels are basically composed of a It is no longer important whether the plot is complete and clear or not; his narrative purpose is just to create a mood and make readers be infected by this mood, which leads to his novels Prose in narrative structure. Regardless of whether his novels are narrated in the first person or the third person, they are "seen" with the protagonist's eyes, "experienced" with the protagonist's mind, and told in the protagonist's tone. Therefore, the narration of events in the novel is basically not an objective display of the plot, but is accompanied by the protagonist's strong subjective emotions. All the scenes, conflicts, and details shown in the novel are full of the protagonist's strong subjective color. What readers directly feel is not the story, but the protagonist's strong emotions - readers witness events and life scenes through the protagonist's subjective emotions.
For example, the events narrated in "The Sinking" are all experienced by the protagonist "he" with a morbid mentality: "He feels pitifully lonely recently", so "every time he feels that everyone is staring at him", "his The eyes of his classmates always seemed to be malicious." His morbid feelings made him even more lonely and inferior, while his immoral behavior aggravated his depression. He often cried out in the unextricable melancholy and despair: "China, China, China "Why don't you become stronger?" "I don't want knowledge, I don't want reputation, I just want a heart that comforts me and understands me! The sympathy that comes from this heart!" Love born from sympathy!" Almost all of Yu Dafu's novels are narrated in such a subjective cathartic language, so his novels are also a special lyrical way.
⒊ The form of "autobiography"
Yu Dafu believes that the works of writers always have the color of "autobiography" to some extent. Looking through dozens of Yu Dafu's novels, we can see that most of them are in the form of "autobiography", using the first person to write "I". Yu Dafu believes that works written in the third person will often make "the authenticity of literature disappear" ". Later, in "Review of Creative Life in the Past Five or Six Years", he further clarified his literary opinions. He said: "As for my attitude towards creation... I feel that 'literary works are all autobiographies of writers'." In one sentence, it is absolutely true." He repeatedly emphasized: "The author's life should be closely integrated with the art of the work, and the personality in the work must not be lost." The personality referred to here emphasizes the author's subjective feelings, that is, maintaining a unique creative personality. Reading Yu Dafu's early novels, we can see that most of them are in the form of "autobiography", with "I" written in the first person, that is, the writer. Even if he writes in the third person, he is still his own incarnation. Yu Zhifu, Huang Zhongze, etc. are all the shadow of the author. Most of the novels are directly based on his own life, writing about his own experiences, encounters and knowledge. Reading Yu Dafu's novels together basically represents a trajectory of his life. This writing method is what he was most influenced by when he was studying in Japan. Influenced by the popular "private novels", those novels usually use personal life as the material, writing about trivial matters around them or temporary thoughts, with a strong autobiographical nature. In 1923, when he compiled "The Collection of Taro", he wrote in the postscript: The "squeezing machine" of society has caused the depression of a generation of young people. "I just want the world to understand the depression in my heart." Therefore, it "only needs to be naked." "Written with a grasp of the state of mind." The reason why Yu Dafu chose to adopt the form of autobiography was that the Municipal Party Committee wanted to expose himself, thereby exposing the depression of a generation of young people and reflecting life and society.
Although the protagonists in the three novels "Silver Death", "Sink" and "Migration South" have different ages and experiences, their personalities, psychology, and emotional styles are very similar. "Sink" The protagonists of the three works in the collection are all typical examples of sentimental youth, and they are a typical example with a unique personality. This character appears weak as soon as he appears, but he is unwilling to sink. He struggles desperately, and his desires are shattered again and again. He wants to be clean but suffers from lust. He is exploring ideals and indulges in sadness. In despair, he can only commit suicide. There are traces of Yu Dafu in these works. In the third chapter of "Sinking", the description of the protagonist's hometown and his various experiences when he was in middle school in his hometown are simply Yu Dafu himself. However, art originates from life and is higher than life. These autobiographical novels transcend autobiographical novels, extending from the individual to society, and have typical significance of the times and society.
2. The formation of the style of Yu Dafu’s early works
Yu Dafu is a writer with a unique artistic style in creation. He had rich preparations before starting to create. When he was in school, he read a large number of Chinese classics. After studying in Japan, he read nearly a thousand foreign novels and was greatly influenced by foreign writers in his creation. Yu Dafu's early novels pioneered the romantic lyrical method of "autobiography", which became a trend in novel creation during the May Fourth period. The exposure of "diseases of the times" and the expression of strong subjective emotions are different from the works of other writers. They truly and artistically leave an extremely complex profile of the times, enriching the treasure house of modern Chinese literature.
⒈ The formation of Yu Dafu’s character in childhood
Yu Dafu was born in Fuyang, Zhejiang in 1896. His family was already in decline when he was born. Childhood memories are a perfect chapter for everyone, but for Yu Dafu, they are all empty. "The first feeling I experienced was hunger." [7] When Yu Dafu was an infant, his mother's thin milk could no longer meet his growth needs. However, it was not easy for a family that had not yet prospered but was in decline to hire a wet nurse. In the end, Yu Dafu became ill all year round due to malnutrition, but "everyone in the family was exhausted by this little life. At the turn of spring and summer in the third year after my birth, my father also died of illness."[8] He was widowed. His mother had to go out to work every day to shoulder the responsibilities of his father, and his two brothers were studying abroad, while his grandmother "moved her toothless flat mouth to recite Buddhist scriptures" day and night. In his lonely childhood, she was with him every day. She sometimes told him stories. She was a loyal maid named Cuihua who loved her very much. This Cuihua with a cute name is only ten years older than Yu Dafu.
When Yu Dafu recalls his childhood life, he always mentions that his family was poor at that time. It seems that his sensitivity, loneliness, and sentimentality are all directly caused by the living environment of a childhood that was tortured by poverty. This character trait is reflected in the protagonists in his works. For example, the protagonist in "Sink" showed sensitive reactions to male and female issues while studying in Japan, which is a true portrayal of the author's character.
⒉ He was influenced by traditional Chinese culture and classical literature in primary and secondary school
Yu Dafu has a profound literary foundation. Yu Dafu entered a private school at the age of seven. When he was in elementary school, he read the "Four Histories" and many Tang poems. He was very intelligent and good at absorbing nutrients from them. Yu Dafu was "surprised by the four poems he wrote at the age of nine." In the summer after graduating from elementary school, I read "A Dream of Red Mansions" and "The Book of Six Talented Scholars". Classical literature gave Yu Dafu almost spiritual support in his subsequent student days. Yu Dafu left home for the first time to study in Hangzhou. Since he had spent all his time on restaurants and sightseeing, he had to turn to a cheaper school. During the six months he spent in that school, he was very lonely, and because it was his first time traveling away from home, he was full of homesickness. I can only relieve my boredom by reading books and writing poems. In his autobiography, when Yu Dafu recalled his unhappy and lonely middle school days, he once wrote: "What really showed me how to make poetry was "Canglang Poetry" and "Baixiang Ci Pu" in "Liu Qing New Collection"." I read every short story at least twice in "The Story of the West Lake". Later, there were various legendary dramas in popular versions. Although I didn't fully appreciate their merits at the time, I somehow felt that way after reading them. The hazy aftertaste is like being drunk with decades of alcohol in the spring weather." [9] Obviously, the plots in these classical poetry collections, legends, and dramas intoxicated Yu Dafu, and also inspired Yu Dafu to write poems. Yu Dafu also has unique aesthetic taste. Guo Moruo once said: "He seems to like the Qing Dynasty poet Huang Zhongze very much. He not only likes his poems, but also sympathizes with his life. He seems to be interested in learning from him. His short story "Caishiji" has Huang Zhongze as the protagonist. , but in fact it is ‘the master himself talks’” [10]. It can be seen from this that Yu Dafu's unique relationship with classical writers is evident. Huang Zhongze in "Caishiji" actually has the shadow of the author. His in-depth study of classical literature broadened his mind and vision, and not only nourished his His strong interest in literature laid a solid foundation for his future entry into the literary world.
3. Studying in Japan, and accepting Eastern and Western culture with Dafu
In 1913, Yu Dafu followed his brother Yu Hua to Japan, passed the preparatory class of a college, and became an official. Eligibility to study abroad for free. The paradise of Japanese-style Chinese students at the beginning of the 20th century, the relaxed learning environment and the feasting and feasting modern life provided Yu Dafu with material for his novel creation. At first, Yu Dafu studied liberal arts, but due to his brother's advice, he also studied medicine. Like Lu Xun and others, Yu Dafu was initially attracted by Western science, but his interest soon turned to Western literature. Then he changed to study liberal arts. When he was in middle school in Nagoya, he read more than 1,000 novels and was also exposed to various social and literary trends. In particular, he was influenced by Japanese naturalism and Western sentimentalism, which were not excluded in his aesthetic taste. Sentimentalism, even affirming sentimentalism as "leaven of literature". Yu Dafu's early novels are filled with a thick and indelible sentimental atmosphere. In his works, he is good at describing emotions with scenes, and he is also good at expressing emotions with emotions. He uses emotions to unify the scenery and psychology, and deliberately gives the works a melancholy and sad atmosphere. For example, in "The Nostalgia Sick": "In such a depressed state, Yu Zhifu looked out the window, looked at the blue sky of the late spring with white clouds coming and going, listened to the soft sound of the hardened pieces falling without wind, and felt that there was a wave in front of his eyes. The layer of gauze... I sat there blankly for an unknown amount of time, as if I was dreaming...". This description contains scenes and people, closely connecting the characters' thoughts and feelings with the scenery, using sad scenes to set off the sadness, and successfully rendering a sad artistic atmosphere. The sentimental cries and sighs in the work infected the young people of the same generation. . Yu Dafu's subjective lyricism touches readers with truth and touches people's hearts. Secondly, influenced by the European romantic literature that emphasized subjectivity in the 19th century, especially the moral resources of self-confession obtained from the romantic Rousseau in the 18th century, the "private novels" that boldly exposed private life and the "private novels" that were popular in Japan from 1921 to 1926, as well as Flo The descriptions that emphasize sexual psychology, such as Ide psychoanalytic psychology and the inner monologues of early Western modernists, made it easy for Yu Dafu to learn how to describe traditional characters and their psychological activities that are traditional in nature but superficially decadent and declining, using strong and bold words. Use your words to write about life that others dare not write. It was the northern giant Turgenev who directly prompted Yu Dafu to write. "Among the many writers of ancient and modern times, I think the most lovable and familiar one, and the one who has been associated with his works for the longest time without getting bored is him." Turgenev, this may be a special preference for me that is different from others, because when I started reading novels and thinking about writing novels, I was completely influenced by this man with a soft face and a slightly melancholy beard. The full length of the Northern Giant influence.
”[11]
If Yu Dafu’s understanding of traditional Chinese culture and classical literature comes from contact and influence in daily life, then his understanding of Western culture was mainly acquired through literary activities Influenced by this, coupled with Yu Dafu's sensitive and sentimental nature, it is easy for him to smoothly write his personal experiences and feelings into his literary works, and his emotions are natural, frank, and straightforward, which is Yu Dafu's unique expression of his heart. The artistic style and Lu Xun are both called "the twin peaks of novel creation in the history of modern Chinese novels". If Lu Xun is the pioneer of realistic novel creation in the history of modern literature, then Yu Dafu is the pioneer of romantic novel creation. The artistic style has a profound influence in the history of modern Chinese literature
References:
[1], Guo Moruo: "On Yu Dafu", "Collected Works of Moruo" (Volume 12) People. Literary Publishing House 1959
[2], [3], [4] Yu Dafu: "Sinking", "Collection of Yu Dafu's Classic Novels"
[5] Yu Dafu: "An Introduction to Literature" ", Volume 5 of "Collected Works of Yu Dafu", Huacheng Publishing House, 1982 edition, page 82
[6] Yu Dafu: "Confessional Monologues", "Collected Works of Yu Dafu", Zhejiang Literature and Art Publishing House, 1985 edition, page 446 Page
[7], [8] Yu Dafu: "The Birth of Tragedy", "Chinese Modern Classic Prose: Autumn in the Old Capital" Inner Mongolia People's Publishing House, page 353
[9 ] Yu Dafu: "Autobiography No. 6"
[10]
[11] Yu Dafu: "Before the advent of Turgenev's
Yu Dafu’s writing is just like the person he is. His novels, essays and poems full of romantic sentimentality not only reflect his own bumpy life path and tortuous creative process, but also show a trend since the May 4th Movement. The complex and unusual modern writer has a distinctive creative personality and unique artistic style. He dissects himself, analyzes himself, and criticizes himself in his works in a simple and lyrical way, making these works full of strong artistic appeal to readers. Guo Moruo once pointed out: "His bold self-exposure was a storm-like attack on the hypocrisy of scholar-bureaucrats hidden deep in the armor of millions of years, shocking some fake Taoists and fake talents to the point of rage. . Why? Just because of such blatant truthfulness, they feel the difficulty of deceiving. " He also agreed with what Li Chuli said, "Dafu is a decadent sect and a Puritan in nature", and summarized Yu Dafu's character traits and ideological qualities as "humble to self-shepherd" ("On Yu Dafu", "Talk Again" Yu Dafu").
Yu Dafu is talented and has a strong poetic temperament. Although he is a "May 4th" new literature master and a radical democratic thinker, he has accepted many 19 ideas in literary creation. Under the influence of European literature at the end of the century, I have never completely gotten rid of the old-fashioned traditional Chinese literati habits, and I have been deeply infected with the "bohemian" attitude of ancient Chinese scholar-bureaucrats such as Ruan Ji, Liu Ling and the Seven Sages of the Bamboo Forest. Therefore, his creations contain profound contradictions. All his works reflect the arduous ideological journey of a talented and progressive intellectual under the specific historical conditions of the long-term, complex and tortuous nature of the Chinese revolution, and reflect the arduous journey of a generation. The general depression of intellectuals and the strong call for the liberation of human nature Hu Yuzhi once made this evaluation of him: "His greatness is because he is a genius poet, a humanist, and a true patriot. ists. "("The Exile and Disappearance of Yu Dafu")
3. Micro-literary criticism mainly evaluates the ideological content and artistic characteristics of short works, and only requires you to choose one point to write, so you can understand the work and determine the Point selection is a crucial step. The point selection must be accurate, that is, it can reveal the main meaning of the work or express the main writing style of the work. The angle of the point selection should be small rather than large, so as to avoid being ineffective and vague.
Secondly, the writing should be concentrated and the language should be concise. We know that the evaluation of the work is the argument, and the specific analysis of the work is to use arguments to prove the argument. The length should be more in-depth to evaluate the work and demonstrate the argument.
Third, the structure should be clear. It is best to directly state the evaluation of the work at the beginning, and then prove it later to form a summary structure. The text above is used to conclude the above, so as to form a general structure of the score, but it should not be forced to avoid superfluous information.
Fourth, it should have a literary criticism flavor and try to use figurative language to evaluate and analyze the work. Integrate your opinions into charming and aesthetically pleasing words, and use some literary criticism terms appropriately to enhance the flavor of literary criticism.
It is important to emphasize that form serves content. In turn, the content also needs to be expressed through form. Therefore, when evaluating the artistic features of a work, one must not ignore the ideological content. When evaluating the ideological content of the work, one can also appropriately mention the techniques of expression. By no means the same.
Please see an example below -
Topic:
Carefully read "Nostalgia" by Taiwanese poet Yu Guangzhong and write a mini-literary review. Make your own topic, no more than 200 words.
When I was a child/nostalgia was a small stamp/I was on this end/my mother was on the other side. After growing up/nostalgia was a narrow boat ticket/I was on this end/the bride was on the other end.
Later/Nostalgia is a short grave/I am outside/Mother is inside and now/Nostalgia is a shallow strait/I am at this end/The mainland is at that end
Example 1:
The Love of the Long Strait
--Comment on the profound meaning of "Nostalgia"
The poem "Nostalgia" is rich in meaning. It is profound and uses a unique style to describe the long-lasting feelings of people on the other side of the Taiwan Strait missing their homeland on the mainland.
In the first three stanzas of the poem, the author has already exaggerated a strong homesickness. At the end of the poem, the author turns his pen and cleverly and appropriately compares homesickness to the strait that separates him from the mainland, thereby embodying the author's lingering nostalgia for his hometown and relatives on the mainland in his twilight years. Due to the exaggeration and foreshadowing of the first three verses, this "nostalgia" taste is even stronger, and it is not difficult for us to taste the somewhat bitter taste, that is, the disappointment of not being able to taste it as expected due to various reasons. , thus deepening the theme of the poem and receiving good artistic effects. (Huang Hengcan)
Example 2:
Jumping Nostalgia
--Comments on the artistic appeal of "Nostalgia"
Nostalgia is a touch The shadow in the heart is the projection of a bundle of emotions. The little poem "Nostalgia" contains true feelings in simplicity, and eternity appears in the twists and turns, giving people a deep artistic appeal.
The nostalgia in the poem jumps and turns, from "small stamp" to "narrow ticket", then to "low grave", to "shallow bay" , but nostalgia is eternal in the author's heart. In order to reflect the "present nostalgia", the whole poem focuses on the layout of the pattern. The accumulation of momentum in the first three paragraphs leads to the explosion of the last paragraph. This not only renders the nostalgia with strong colors, but also sublimates and sublimates the nostalgia. Readers can easily extract the artistic essence from this extremely sad little poem, which is the result of its emotional appeal. (Zhao Siyi)
Example 3:
You may not have tears if you want to cry
--Comments on metonymy in "Nostalgia"
" A major feature of "Nostalgia" is the use of metonymous rhetorical techniques to express strong nostalgia. The poet is unique and uses "small stamps", "narrow tickets", "short graves" and "shallow bays" to refer to "when I was a child", "when I grew up", "later" and "now" "Waiting for the nostalgia of different periods to materialize it. At first glance, it seems a bit free and easy to "wave away", but after reading it a few times, you will feel the poet's cry, and you will definitely be moved by the deep affection between mother and child, the love between husband and wife, and the wanderer's desire for the reunification of the motherland. It is the stamps, ship stamps, tombs and straits that show that the poet is always in sorrow of separation; he is crying but without tears, which is made possible by proxy. (Youfang)
General comments:
These three micro-literary reviews, some comment on the ideological content of "Nostalgia", and some comment on its artistic features, are quite legitimate. They only focus on one point to write, with a small angle, pertinent evaluation, concentrated writing, reasonable analysis, and concise and comprehensive words. As for the bright structure, it goes without saying that it is clear at a glance; the clear hierarchy and fluent language are also unique characteristics. Appropriate use of some literary criticism terminology in the writing makes it more characteristic of literary criticism. In addition, the title of each article is very artistic, which also adds style to the micro-review.
Comment on the exam pattern
Begin:
1. Summary retelling. In the retelling of the plot summary of the full text, the points that need to be emphasized are pointed out in a subtle way.
2. Introduce the argument: a judgment sentence, subject, predicate and object. Choose the most touching point
Content: Look at the theme from the character image.
Form: Choose a character image from the following points (several aspects of personality), structure (twists, coincidences, misunderstandings, clues, etc.), language (personalization, life-oriented), skills (contrast , satire, absorb other stylistic features, etc.).
Middle:
1. Analysis and argumentation are the main ones. The argument is the work itself, excerpted and commented on at the same time. Divided into two or more aspects.
2. Other argumentation methods are supplemented, such as citation, metaphor, rebuttal, etc.
3. Connect with reality and extend it. The content is mainly the social significance of the subject. The forms include: typical meaning, comparison and development of artistic characteristics.
End:
1. Restate the anaphora at the beginning to further clarify and deepen the argument.
2. Express emotion