virtual writing
I. Definition of virtual writing
Virtual writing is a kind of expression technique, which is opposite to positive writing. Also known as virtual pen, it is a kind of narrative and description skill with virtual realism. It is similar to the pause in music, the blank in painting, the empty lens in film, the still field in drama, and so on. Virtual writing is a means of expression, which is often used in the process of literary and artistic creation. In order to achieve the effect of surprise, especially in prose, poetry, classical literature, painting and so on. For example, "If you don't see him, hear his voice first", "Not in this mountain, how can I tell, through all these clouds?" and so on. Give people a kind of imaginative artistic conception.
In imaginary writing, although the author exaggerates some characters, he does not make them appear, but only makes readers feel that they exist, thus affecting the fate or outcome of the characters present. For example, Jin Ba in Cao Yu's drama Sunrise and Xia Yu in Lu Xun's novel Medicine. "Virtual" refers to the virtual part in literary works, that is, the intangible or fictional part caused by the tangible or real part in literary creation. As a writing technique, virtual writing often provides readers with associative space by means of metaphor, exaggeration or symbol, thus achieving an inevitable virtual environment. Any literary work comes from the truth, which is the reflection of real life in the author's pen. Because the truth in literary works permeates the author's experience and emotion of life, literary truth is a kind of reality and virtual realm higher than life imagination. The combination of emptiness and reality creates a strong artistic atmosphere in literary works.
Second, the analysis of the role of imaginary writing
1. Zhu Ziqing's imaginary writing in Moonlight on the Lotus Pond guides readers to have inevitable associations with the help of artistic means, and actively and consciously captures those indescribable interests and lasting appeal, thus realizing the realm of emptiness. "Above the winding lotus pond, I look forward to the leaves of Tian Tian. The leaves are high out of the water, like a graceful dancer's skirt. Among the layers of leaves, some white flowers are scattered, some are blooming gracefully, and some are shyly blooming: just like pearls, stars in a blue sky, and beautiful women who have just come out of the bath. "
2. In the third episode of A Dream of Red Mansions, Lin Daiyu came to Jia's house and met her grandmother, two aunts, three sisters and Xifeng Wang. When she arrived at Jia's house, she got the answer that Jia She said, "I haven't been well for days, but I am sad to see the girls, so I can't bear to meet them for the time being." I didn't see it in the Jia government because I "fasted."
According to the normal etiquette, Daiyu had to meet her two uncles when she came to Jiafu. However, meeting so many people one by one is difficult to grasp in writing, and the conversation with her two uncles will be very formal, which requires a lot of pen and ink to describe. Therefore, the author used imaginary writing to explain why she didn't meet each other by borrowing others' mouths, which avoided the difficulties in description, and also increased the ups and downs of the story, laying the foundation for the real meeting later.
3. In the fifth episode of Romance of the Three Kingdoms, there is such a passage: Hua Xiong was so brave that he came to scold and fight, and even beheaded two generals, Yu She and Pan Feng. At that time, Yuan Shao, the leader of the alliance, was shocked and sighed: "It's a pity that my general Yan Liang and Wen Chou didn't arrive, so this one can behead Hua Xiong." Before the speech was finished, the next person called out the day: "Young man is willing to behead Hua Xiong and give it to the account!" When people looked at him, they saw that his body was nine feet long and his beard was two feet long. He had phoenix eyes, lying silkworms' eyebrows, his face was like a heavy jujube, and his voice was like a giant bell, standing in front of the account. When Shao asked who he was, Gongsun Zan said, "This is Guan Yu, the brother of Liu Xuande." Shao asked where he was now, and said, "Follow Liu Xuande as a horse archer." Yuan Shu shouted at the account, "Are you deceiving our governors without generals? Measure an archer, don't dare to talk nonsense! Play with me! " Cao Cao stopped short, saying, "Calm down by road. Since this person has made a big speech, he must have courage; If you try to teach a horse, if it is invincible, it is not too late to blame. " Yuan Shao said, "If an archer goes into battle, Hua Xiong will laugh at him." Cao Cao said, "This man has a good appearance. Does Hua Xiong know that he is an archer?" Guan Yu said, "If you can't win, please behead a certain head." Cao Cao poured a cup of hot wine and got on the horse with Guan Yu. Guan Yu said, "Pour the wine and come as soon as you go." Pay the bill, carry the knife, and fly on the horse. The governors heard the drums outside the customs and shouted loudly, such as the collapse of the sky and the collapse of the mountain, and everyone was shocked. Just as he was about to snoop, Luan bell rang, and the horse arrived at Zhongjun, and Yun Chang lifted Hua Xiong's head and threw it on the ground. -the wine is still warm. In this passage, the author also evades reality. When describing Guan Yu's painful beheading of a scene in Hua Xiong, the author did not choose to describe positively how Guan Yu appeared in a heroic way and how he fought fiercely with Hua Xiong. Instead, he only described Hua Xiong's bravery and the roaring drums and deafening roar on the battlefield, as well as the pictures of many war generals who were anxious about Guan Yu's safety in the military account. And while others were waiting eagerly, Guan Yu had already rode back to camp and brought back Hua Xiong's head to throw it in the account. The technique of imaginary writing has even enhanced the expressive force of Guan Yu's heroic spirit, which makes readers secretly exclaim.
4. Strange Tales from a Lonely Studio is a flesh-and-blood life created by Pu Songling by writing ghosts and demons, and it is an artistic world of reality and fiction. The dreamy world created by Pu Songling is relative to the real world. Relying on the inner world of nature, society and human beings, it describes the heterogeneous world that human beings do not have in reality, but it makes people feel that it really exists in reality. This artistic realm of asking the truth and the reality makes readers realize the agility of life in the universe and the profound philosophy in life.
5. Reproduction of latin american history's masterpiece One Hundred Years of Solitude is Garcia? Marquez's representative works of magical realism, through imagination and ingenious processing, combine reality with fantasy, and combine real writing with imaginary writing, presenting readers with pictures that are true and false, alternating between reality and reality, enriching people's imagination and receiving strong artistic effects. For example, when writing about the silence of the night, people can actually hear "the noise of ants in the moonlight, the loud noise of moths eating and the continuous and clear screams of weeds growing".
6. There is such a classic musical poem in Pipa: "the large strings hummed like rain, the small strings whispered like a secret. Hummed, whispered-and then were intermingled, like a pouring of large and small pearls into a plate of jade. Between Guan Ying's words, the bottom of the flower is slippery, and it is difficult for you to swallow the spring and flow under the ice. The ice spring is cold and astringent, and the strings are condensed, and the condensation will never stop. Into a depth of sorrow and concealment of lament, told even more in silence than they had told in sound. The silver bottle burst into the water, and out leapt armored horses and weapons that clashed and smote. And, before she laid her pick down, she ended with one stroke, and all four strings made one sound, as of rending silk. " Bai Juyi describes the superb piano skills of the pipa girl by using unique imaginary writing techniques and a large number of wonderful and novel metaphors, so that readers can deeply feel the desolation of her life experience through visualized music, and finally truly understand the loss and sadness of Bai Juyi's political blow and demotion.
7. Mo Shang Sang is a famous work in Han Yuefu, which belongs to Songs of Harmony. It tells the story that Qin Luofu, a mulberry girl, refuses to be molested by an "envoy" and praises her beauty and faithful sentiment. In the first paragraph of the poem, the author spends a lot of time describing her beauty and the admiration of people around her, which is the most wonderful part of the poem. The first four sentences are "Sunrise in the southeast corner, according to my Qinshi Building. Qin has a good daughter, who calls herself Luo Fu ". Talking from the big point to the small point, from the imaginary point to the real point, is a typical folk story-style prologue, which also lays the atmosphere of the whole poem: the bright sunshine shines on the beautiful attic, where beautiful women live and the colors are dazzling. Then Luo Fu came out. "The moss is a cage, and the cassia twig is a cage hook. There is a bun on the head and a bright moon in the ear. Xiang Qi is the lower skirt and Zi Qi is the upper one. " Described Luo Fu's appearance from the front: carrying a mulberry basket with black silk as a winding rope and cinnamon branches as a handle, with a "Japanese falling bun" on the head, shiny and precious bright moon beads hanging from her ears, wearing a purple HongLing cotton-padded jacket on her upper body and an apricot Kirara skirt on her lower body. The image of the whole person is bright, bright and touching. According to common sense, poetry should continue to describe Luo Fu's figure and face, which is what readers expect. It is not easy to outline the degree of beauty in the mind with words, so the author used the technique of imaginary writing to stop directly depicting this beautiful woman and began to describe the people around him who were impressed by Luo Fu's beauty, which not only indirectly confirmed the beauty of the mulberry picking woman, but also increased the drama of the plot. The most important thing was to achieve the portrayal with a pen without ink.
8. Li Bai, a poet in the Tang Dynasty, is famous for being good at creating imaginary scenes in his poems. Numbers play an important role in the application of virtual writing techniques. Although the "48," in "forty-eight thousand years had passed, not connected with Qin Sai" in Shu Dao Nan is a real number, it implies a bigger imaginary number and is used to describe the age. Li Bai prefers "one", "three", "thousand" and "ten thousand" in numbers, which are mostly imaginary numbers in classical Chinese, indicating the meaning of many. "a slip of the moon hangs over the capital, ten thousand washing-mallets are pounding." (Midnight Wu Ge) describes the scene of thinking about her husband in the bright moonlight and the sleepless beating of clothes in autumn, the season of preparing cold clothes and reuniting with her family. Similar poems include "Peach Blossom Pond is deep in thousands of feet, which is not as good as Wang Lun's", "Flying down three thousands of feet, suspecting that the Milky Way has set for nine days", "White hair is three thousand feet, and sorrow seems like a long one", etc. The use of imaginary numbers not only reflects the author Li Bai's aloof and wild character, but also reflects the poet's grand and broad mind.
9. There is a song in "The West Chamber" and "Farewell to the Long Pavilion" that goes like this: "The sky is blue, the land is yellow, the west wind is tight, and the geese fly south in the north. Whoever gets drunk in the frost forest at dawn always leaves people in tears." "Blue clouds" and "yellow flowers", which are closely related to the autumn season, first laid a sad tone and atmosphere. "West wind" and "flying geese in the south" aggravated the cold solemnity, and "blood-red maple forest" further rendered the sadness of parting, so how could it not make people cry? The author evades the reality and makes an empty impression, expressing his feelings of separation and sorrow under the guise of describing the scenery, which helps readers to realize the inner bitterness of the characters in the play.
1. Yang Shuo's "Litchi Honey" is a typical lyric prose. This kind of prose usually writes objective things first, and then expresses emotion in a freehand manner, that is, it adopts the method of combining realism with writing emptiness.
the full text of litchi honey is divided into five parts. In the first three parts, the writer never liked bees before, and praised the nobility of bees with the author's preliminary affection for bees and his further understanding of bees. These are all realistic.
In the fourth part, Yang Shuo wrote: Through the lychee forest, I looked at the far field, where farmers were standing in the paddy field, working hard to divide and transplant seedlings. They are building their own lives with labor, and they are actually brewing honey-for themselves, for others and for future generations. The author praised farmers, from real writing to imaginary writing, from praising bees to praising hardworking and noble farmers like bees, and praised their dedication. This is the author's original intention. Part V: That night, I had a strange dream that I became a little bee. The author further deepens the implication of the article and improves the level of artistic conception by using virtual writing.
11. In Medicine, Lu Xun carefully depicts three kinds of people related to Xia Yu's death-Hua Laoshuan, Kang Dashu, tea drinkers and Xia Yu's mother through three scenes: execution ground, teahouse and graveyard, but Xia Yu, the central figure, never appeared directly. Writing Xia Yu in vain is exactly the author's careful design and arrangement of the whole drama. Xia Yu didn't say a word from beginning to end, but Uncle Kang has always been a "hit the floor", and people can always feel his existence, while Xia Yu is silent, which is just close to the theme, and the revolutionaries are divorced from the masses, thus indicating the result of the revolutionaries' double tragedy in spirit and reality.
The creation of Medicine used a typical writing method of virtual and real. Mr. Lu Xun described the life tragedy of Hua Laoshuan's family in a realistic way, from Hua Laoshuan's husband and wife treating their son and buying blood steamed bread to Hua Xiaoshuan's death. However, Xia Yu's sacrifice for the revolution and the mourning for him by later generations used imaginary writing, which indirectly reflected the failure of the old democratic revolution.
In a poem or an article, imaginary writing has a good rendering function and a good expressive force, and at the same time, it can leave enough imagination space for readers, making the article more implicit.
You can search for the article "Virtual Writing and Its Function" in Luke's thesis. You can also find more knowledge and skills about writing in Luke paper net.