What is the common problem of random composition?

Liang Yuchun (1906— 1932), a native of Minhou, Fujian, was admitted to the English Department of Peking University on 1924. 1928 After graduation in autumn, I taught at Jinan University in Shanghai. The following year, I returned to work in Peking University Library. Later, he died of acute scarlet fever. I started literary activities during my college study, mainly translating western literary works and writing essays. Since 1926, he has published essays in periodicals such as Yusi, Running, camel grass, Modern Literature and Crescent Moon. And most of them have been included in "Spring Stories" and "Tears and Laughter". Bibliography: Spring Awakening Collection (Prose Collection) 1930, Tears and Laughter in Beixin (Prose Collection) 1934, Selected Prose of Ming Kai and Liang Yuchun 1983, Baihua Translation Bibliography: Modern Forum (paper), UK. On the Grassland written by Gorky of the Soviet Union in Beixin,1931; The autobiography (novel) of a slut written by Defoe in Beixin, England,1931; Beixin republished its name as Moore Flanders, 1982. The author of Lord Jim (novel), Polish Conrad's Commercial Liang Yuchun Beixin 1934 is a neglected role in the history of modern literature in China. In his short life of 27 years, he left us only 37 essays and 20 or 30 translations. However, as he wrote in his eulogy to Xu Zhimo, Liang Yuchun left an image of a spontaneous fireman. He has a special complex about fire, because his own life is like a beating flame. Although there was only a little ash left in the end, he still threw himself into the flame and danced calmly. He said in "Watching Fire": "Our life should be as unrestrained as a flame, and it will be lively and interesting to run according to our own will. Our spirit should really drift like a flame. Only under the command of inner heat, breaking all kinds of barriers of customs, prejudice and morality and dancing as we please, will generate spark and create colorful flames. " Liang Yuchun's works, just like his people, are a kind of perspective of burning themselves in even watching the fire. He has long known that the flame of life will eventually go out and become a pile of ashes, so this investment has a tragic color and already contains the deepest despair and helplessness. Liang Yuchun's prose creation in his life, as he said in "On the Wanderer", "Writing in the madness of life" is a flash in the pan. Today, when we read his prose, we will still be surprised and excited by the wisdom, agility and strong tension that flashed in it. First, "Tramp" prose Liang Yuchun's prose, "Talking about" Tramp "is a long article, which is also my personal favorite. Liang Yuchun made no secret of his admiration and yearning for the tramp spirit in this article, which is exciting to read, and his own writing attitude and style are as unrestrained and enthusiastic as the tramp mentioned in the article. In this essay, Liang Yuchun said: "A real tramp will not arouse people's disgust, because he has reached a state of no one and no one. The impulse at that moment was his only guide. He loves to laugh, likes to see other people's smiles, and cares nothing else. " He added, "Wandering means wandering in the mood. This wandering temperament of "no one is without me" is also a major feature of Liang Yuchun's prose. 1, the tendency of "clown" aesthetic identification, German reception aesthetician Jauss explained aesthetic experience in his "Aesthetic Experience and Literary Hermeneutics", among which there is an important concept "role distance", which comes from the aesthetic attitude of the game and is a kind of ability to deal with things that must be dealt with seriously with by personal free will. The aesthetic experience of the game teaches us to "put another life near us and another world near our world." "Taking the masked ball as an example will lead to a preference for three roles: knight, shepherd and clown." Some of our guests look for things that seem to be above or below society, while others look for things outside society. "Three important literary traditions are rooted in three different aesthetic identification tendencies: hero, pastoral and tramp. Liang Yuchun's wandering prose is based on the aesthetic identification tendency of "clown". Of course, Yao's hermeneutics theory was born in the western cultural environment, which is different from the overall cultural vision of modern prose writers in China. However, Liang Yuchun's creation is obviously influenced by western prose. Ye Gongchao, an apprentice from Liang Yuchun, commented on this student when he wrote a postscript for his last work Tears and Laughter on New Year's Eve 1933: "In this collection, we can also see that he was really influenced by Lamb and hazlitt, especially Lamb. Based on the background of studying English in Liang Yuchun University, it is possible and reasonable to discuss Liang Yuchun's works with western aesthetic experience theory. The clown-like aesthetic identification shows the reader's desire to find something from society. Compared with many contemporary prose writers, Liang Yuchun is obviously more personal and emotional. In his works, more attention is paid to his own heart and humanity, and there are few traces of current events and specific social background. He once said, "Even if we write off any country or nation, we hope to live an interesting life." To some extent, this conforms to the clown's lifestyle of entertaining himself with his own performance, which makes his prose find a new way out. 2. Inherent tragic consciousness. Liang Yuchun's prose writing is a spontaneous youth writing. "Youth writing" is a vague classification. The meaning here refers not only to the writer's youth, but also to the unique exploration stage in the creative process. His style is still immature and his thoughts are still very complicated. Xin Qiji said that teenagers are "eager to write new words". Confusion and sentimentality are the colors of most youth writing, but the tragic consciousness of Liang Yuchun's prose is innate. The unique perspective of life and the feeling of questioning everything in the universe have gone beyond the general emotional catharsis, which is reflected in his views on people, tears and laughter, dawn, darkness and spring rain. (1) The image of "fire" Liang Yuchun has a unique fascination with "fire". The title of his eulogy to Xu Zhimo was Kissing Fire, and he himself often sat alone by the fire, quietly staring at the ever-changing flame in front of him. He hopes to be a Persian in his next life, because "they are really smart people, and they know how to worship fire." Even if he has no money to buy cigarettes, he will take a box of matches and light them one by one to "solve this fire addiction", which shows his obsession with fire. Fire has a contradictory nature. On the one hand, it is gorgeous and charming. On the other hand, it is short-lived and dangerous. People who like fire are doomed to have such beautiful and dangerous dual factors in their personality. The tragedy of fire is that it is doomed to go out, so its burning is tragic. Liang Yuchun's prose has a sense of disillusionment, especially his second collection of essays, Tears and Laughter. The persistence of idealism, which burns even if it burns, usually makes people struggling in reality fall into deep helplessness and despair, and Liang Yuchun is no exception. He believes that everyone is a fireman sent by God to the world, because everyone born in the world has the responsibility to save people. "I believe that life is a stubborn piece of iron, unless it burns red in the melting pot of sympathy and sparks with human disasters as a hammer. He is always so cold, heavy and melancholy on the road of life, and we spend every day in extreme numbness-a pain that even our sympathy can't be obtained. " Faced with the helplessness of reality, this writer who is eager to "put out the fire" has no choice but to blame himself. "I dare not go to the dance floor of life to dance with my companions, but hide behind the curtains and sob. This is the attitude of our weak people. " Firefighters' infatuation and helplessness with "fire" is a major manifestation of Liang Yuchun's prose tragedy. (2) The vibrant spring has always been the object of praise by literati. However, here in Liang Yuchun, "spring" is full of sadness, and his description of "spring" always contains a kind of anxiety about "prosperity and perishable", which is not unrelated to the melancholy deposited in his character. In "Another Year of Spring Grass Green", he began like this: "All the year round, what I fear most is spring." Then he said: "As soon as I saw the grass green in front of the steps and the bonus outside the window, I felt the disharmony of the universe, as if I heard a girl laughing at the bedside of a dying patient." No, it's like hearing the death knell of sadness at a wedding. " Few people associate spring with the death knell. In A Dream of Red Mansions, Daiyu may have some such feelings when burying flowers, because Lin Daiyu is also a person with a natural tragic mentality about her own destiny and the world. (3) affirmation of "tears" Liang Yuchun never thought that tears were a shameful thing. He has a warm sympathy for those who cry, because it is much better to feel pain than to be completely numb. He said: "Tears are an affirmation of life ... Every time I see people's tears, whether it is the sting of lovelorn or the pain of bereavement, I always feel that this world is really worth living." (Laughter and tears) Taking the sad reflection of "tears" as a sign of affirming life shows the innate tragic consciousness in Liang Yuchun's character.