April 1 1
Stress redundancy
When I first read this article, I just came to the northeast as a freshman. After reading it, I feel suddenly enlightened. It turns out that this black land under my feet is not only the vast hazelnut river and the rushing snow water, but also the magical, magnificent and primitive youth written by Liang. It also contains so much bitterness and suffering and expresses so many joys and sorrows. Yu's eloquence unveiled the mystery surging in the depths of history and showed it to people. At that time, I was deeply impressed by Yu's prose, and I felt that after reading it, I gained a lot of knowledge.
Looking at it now, there is quite an estimation and evaluation mentality. Beneath the surface of the text is Yu's reflection on the spiritual destination of intellectuals. Land is the home of all living things in nature. Just like the prayers at western funerals: dust to dust, dust to dust. Only by taking root on the earth can we achieve peace and seek eternal life. However, the elephant is invisible, and Daiyu buries flowers, but what she buries is her feelings about love and youth. How to bury the grave? So what is the real spiritual world?
Thought is a terrible thing. Especially for politics. So whenever there are signs of trouble, the rulers will start a literary inquisition, and the purpose of killing chickens and monkeys is obvious. Ice and snow, freezing in the cold, naked, hungry, bad natural land and lack of material are not the root causes of the suffering of exiled literati. In Yu's original text, "the original value coordinates collapsed, and even some originally defined concepts were blurred." Spiritual sense of no shelter is the real crisis.
In the face of the crisis, we summed up two ways out. One is the contact with the outside world, the connection between people, which is very appreciated by each other-like. Yu praised the friendship between poverty and health. The other is to open your mind, put into practice, and do something meaningful: teaching art and learning academics. Yu called it "the return on the cultural road". China's two traditional mainstream thoughts are Confucianism and Taoism, and Yu undoubtedly agrees with the former. His ways of analyzing and supporting exiled literati in finding their spiritual homes are all positive, helping the world to the best, and poverty is not spared. As for leaving the mountains, it is unrealistic for him to forget the rivers and lakes.
From this, we think of modern people, intoxicated in the neon, sad in the affair, screaming in the rock punk. However, we can't hide shallowness and emptiness, loss and emptiness. Some people say that we grew up in a greenhouse and have never experienced wind and rain, so we don't know how to cherish happiness. What about the generation that has experienced suffering? The intellectuals who came during the ten-year Cultural Revolution were not very clear (according to Yu Jie, Yu was even secretive about this issue). In an era of vague values and increasingly clear concept of money, finding a spiritual place has become a sad luxury.
On the overall style of Yu's prose from Land of Exile. From "Cultural Journey" to "Notes on Mountain Residence", many people say that Yu is conformist, just like Yang Shuo's prose. He always starts from a regional culture or a historical and cultural point and uses academic materials to achieve a cultural essay. I don't think so. I remember reading such a passage: a true writer is always an explorer of the soul. His soul is always longing for the unknown. A true writer is always a stranger in the ancient cultural customs system, and his eyes are always shining with doubt and inquiry. I took a magnifying glass and saw where he was going, and then described what he saw in detail. His things are all one by one, such as Dujiangyan, Mogao Grottoes, the culture of demoting officials and the culture of flowing people. Although they are still linked to that level, they are completely different from Yang Shuo's prose, and you can guess at the beginning.
The second thing I want to say is his sensationalism. Also hold negative opinions. Sensibility, sensibility, who is he really sensible? Is it still the reader's? At least he stirred up this feeling, no more than those dry words that he tried to stir up but couldn't. At least his writing is elegant, and he can't always say "Oh, how I am!". In other words, his grandstanding is called "causing readers to scream". No matter how an article fails, it cannot arouse the admiration of readers. Yu's language style is indeed enlightening and revealing, but his writing theme is a consistent tradition of China literature. Even Hemingway's "telegraph style" is choppy, and Fang Fang's "zero narrative" tends to be crowded. There are many ways to express feelings, so it is difficult to compare Yu's and Shi Tiesheng's cultural prose. Arbitrary emotions and customs, depending on personal preferences, have their own styles. We can only say that literature can't be single or across the board.
Although the above has always defended Yu, from the style, writing techniques and content of the article, the requirements are really not high. However, reading his prose, I really feel something is missing. As for what is missing, he is as elegant as a man. I think he is a very accomplished scholar and a proud scholar who travels around the world. Compared with Li Bai, who also traveled to famous mountains and rivers, he is far from naive!
Old university works, turn them out and update them.
References:
Baidu (the world's largest Chinese search engine)