Problem description:
Please give an example!
Analysis:
The common language art of rhetoric
The special function of the perceptual meaning of language makes people strive to be accurate and accurate in rhetoric, and strive to express their inner perceptual experience and arouse readers' association. The fundamental way for rhetoric to activate the meaning of language is to make the language and context highly matched and close to "uniqueness". Zhang Gong, a rhetorician, put forward the concept of "the artistry of everyday language", which was widely accepted by rhetoric circles. It means that some common language expressions have achieved unusual results in common usage.
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Do you have a minute? If there is, just look below, or really look below to understand.
The rhetorical phenomenon of "the artistry of everyday language" has the following characteristics: the daily usage of everyday language; Closely related to the current context, it will cease to exist without context; The language meaning is extremely rich, vivid and active. There are two methods of artistic rhetoric:
1 standard language is rich in meaning.
That is, the meaning, color, style and usage of words are completely in line with the specifications, as simple as words, such as:
The foot of my bed is shining with such bright light. Is it frosty already? .
Looking up, I found it was moonlight, sinking again, and I suddenly remembered home.
The whole poem is just 20 words, which is meaningful and profound. The first sentence is about the bright moon in front of the bed, but it implies the meaning of late at night. People don't sleep, but people don't sleep, which implies the deep homesickness of the wanderer. The second sentence is clearly written to doubt that the moonlight is frost. In fact, it is not only written that the moonlight is hazy, the scenery is blurred, and short dreams come back, causing hallucinations; He also wrote that a wanderer far from home was homesick for autumn. Because "frost" is literally seen, "autumn" must be implied. China literati have always been extremely sensitive to autumn, and have traditional feelings of sadness for autumn. Therefore, the process from "suspecting frost" to "feeling autumn" and then from "feeling autumn" to "homesickness" is very reasonable. Although three or four sentences only describe the instantaneous process of "looking up" and "looking down", they show the subtle changes of tourists' psychological activities and the rich experience of life and emotion. People in China often observe the universe and appreciate life between pitches. [5] People are thousands of miles away from their hometown, but the month here is the month of their hometown. Therefore, looking at the moon and bowing their heads to homesickness is only an instantaneous change in the height of space, but they lean forward and lean back, thinking flying and feeling thousands of miles away. The infinite connotation of space has been contained in the process of high and low altitudes and condensed in this homesickness. Throughout the poem, there is neither exquisite rhetoric nor peculiar rhetoric. The rhetoric means of "the artistry of ordinary language" is mainly used to activate the meaning of words, which produces a rhetorical effect that seems to be lip service, but if understood, it is actually found in the plain, and the ordinary is meaningful.
2 Personalization of character language
Character language often appears in literary rhetoric and other rhetoric. Because of this, the use of character language is often a prominent manifestation of the quality of rhetoric art. The character language in rhetoric activities should be no different from the character language in daily life, that is, it should be "ordinary" to meet the requirements of "truth" and convince people. At the same time, it should be different from the language of characters in daily life, that is, it should be "artistic", so as to enter the realm of "beauty" and make people infected. To achieve these two requirements, it is necessary to personalize the language of the characters. The so-called personalization of characters' language means that the characters' language conforms to their identity and experience, so as to have the effect of seeing people from their words. Such is the character language in A Dream of Red Mansions. Readers can also guess who said it. There are many good examples in modern works. For example, Liang Bin's "Red Flag Spectrum" section 16 writes that Chunlan and Yuntao are talking in a melon shack. Yun Tao leans on her hand. She smiled and said:
(3) Picking vegetables in the morning and watching melons at night. I grow crops in spring and collect marijuana in summer. What good players do I have? Here, I've seen enough!
Chunlan is emancipated, cheerful and sincere. Her words are neither artificial nor vague, which is very consistent with Chunlan's simple, cheerful and generous character.
Specifically, the artistry of ordinary language has four requirements:
Simple. In other words, language is the common language, spoken language and common language that everyone knows. But it is not simple and shallow, but simple and honest. Simple, it can't attract readers' attention at first sight. Say it's honest, chew it carefully, but it's memorable. Express the richest content in the simplest form. For example, Du Fu's poem says that "the mountains and rivers have Bashu, and the buildings are all in harmony." Among them, "you" and "zi" are very common, and everyone understands and uses them, but they are full of energy when used here. The predecessors commented, "it is thousands of miles away, up and down for hundreds of years, only in.
Nature. In other words, the style of writing is like flowing water, clear and clear, with no change in style and no obvious strength. Although the content is extremely rich and the vocabulary is multiplied, the author is as light as a cucumber. For example, in Lu Xun's Blessing, Sister Xianglin returned to Luzhen after He Laoliu's death, but-
People still call her Sister Xianglin.
At first glance, this sentence is very common, and many readers will flash it. In fact, it has a profound meaning behind ordinary language. In the old society of China, women were at the bottom of society. The heroine in Blessing is famous, but she can't be called by her surname. She can only be called "Sister Xianglin" with her husband. This is the arrogance of the concept of "being a husband". Later, her husband "Sister Xianglin" died unfortunately, and she was forced by her mother-in-law to remarry He Laoliu of Hejiaao. It's bad enough, but what's more sad is that even according to the concept of "being a husband", she should be called "sister-in-law", but this can't be done. The original name cannot be changed, that is, the husband and son died unfortunately. "People still call her Xianglinsao. Sister Xianglin is worried about the mental oppression and torture that Yamaraja sawed off for two men after his death. People can even see Lu Xun's artistic ingenuity in writing the thought of husband power and its influence in China's traditional society with the word "Jing". Its rhetorical effect can not be ignored.
Accuracy means that the language used can express the content in a very subtle way, which is difficult to write in front of your eyes and contains endless meanings. For example:
(4) Fish comes out in the drizzle, and Yan is inclined in the breeze. (Du Fu's Water Threshold No.1)
The words "Chu" and "Xie" are extremely unusual. Only when it is sunny will the fish swim to the surface. If it rains heavily, it will dive to the bottom. Swallows can only fly across the sky when the wind is light, but it is unbearable when the wind is strong. The word "out" and "oblique" here is no longer the rational meaning of "from the inside out" and "incorrect". In the delicate description of the action state of the fish swallow in the breeze and drizzle, the word presents an extremely vivid meaning.
Image language can show vivid images and pictures. Mao Dun once wrote a strong man named Cai Xi as a pole punting in A Row of Algae:
(5) oh! From Cai Xi's thick chest, there was a loud whistle, and the penny turned quickly and skillfully and plunged into the water on the other side of the boat. Cai Xi put his hand on the top of the penny and sent it away. Only then did he drag the dripping penny out of his head again.
This passage vividly depicts Cai Xi's coherent and rhythmic movements, just like a set of focal planes. An important reason is the proper use and activation of the meanings of common verbs such as "hit", "press", "send" and "drag".
To make the use of common language rich and active and meet the above requirements, we can make efforts in the following aspects:
First, pay attention to the factors of language itself. We should fully explore the various meanings of languages and expand their expressive ability. In extension, we should not only consider whether they are consistent with the basic characteristics of the referred object, but also consider whether they also indicate or imply the secondary characteristics of the referred object. In terms of connotation, we should also pay attention to their additional meaning, color sense and historical and cultural language accumulation.
Second, pay attention to contextual factors. The generative meaning in the artistry of ordinary language depends on the high matching and full conformity between language and context, and does not depend on special skills and unconventional formats. Du Fu's "Qujiang" two songs: "Wearing a butterfly is deeply seen, and the water is clear and flying." This couplet writes a beautiful scenery of tranquility and freedom, in which the overlapping words are full of charm. Deep writes the background of butterflies wearing flowers. The charm of "generosity", writing a little water, is light, revealing some feelings and joy. However, these two words are highly artistic only when they are collocated with verbs such as "wear, look", "point, fly" and in the context of each other. Without "wearing" and "seeing", the depth of "deep" cannot be expressed. Without "point" and "flying", the lightness of "money" is meaningless. Only when it fully conforms to the specific context can the meaning of language be revealed in the generation.
Third, pay attention to human factors. It is necessary to fully mobilize the memory and association of writers and readers on the appearance of life and stimulate their feelings about language. The meaning of language is a perceptual meaning, which can only be produced by integrating human experience. In the forty-eighth chapter of A Dream of Red Mansions, Cao Xueqin used Xiangling to appreciate Wang Wei's poems. Xiangling said:
I have read his poem "Fortress", which says: "The smoke in the desert is straight, and the long river sets the yen." Think about how straight the smoke is, and the sun is naturally round. The word "straight" seems unreasonable, and the word "round" seems too vulgar. Close the book and think about it, as if I saw this scene. If you find two more words for these two, you will never get two words. When I read it in my mouth, it looks like an olive weighing thousands of kilograms. There are also words such as "the sunset lingers at the ferry, and smoke rises at midnight" and "Yu" and "Shang". It's hard for him to think about it! When we came to Beijing that year, we took a boat in the bay that night. There is no one on the shore, only a few trees, and several families are cooking dinner in the distance. Smoke turned out to be blue and blue. Who knows, after reading these two sentences last night, I seem to have gone to that place again.
The words "Zhi", "Yuan", "Bai", "Qing", "Yu" and "Shang" in Wang Wei's poems are all common and familiar words. The reason why they can produce artistic effect on Xiangling lies in that they have triggered readers' life experience, which makes people think more and more tastefully and even have endless aftertaste.