Between; Metaphor, even the simplest metaphor between the two creations; Between the two components of irony; Between prose style and poetry style. " (2) In recent years, the word "tension" has appeared frequently in China literary circles, but there are few monographs on its basic nature, principles and significance. In my opinion, this is a very important theoretical category, with rich theoretical connotation and important theoretical value, which is worth further discussion.
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The multi-level and multi-dimensional meaning makes the conflicts in the whole text space diversified and enriched, and accumulates a lot of literary tension.
Second, emotional fullness. In fact, the emotion of the text is full of emotion, which is the author's deep affection for various factors in the form and content of the text, and the author has cast this deep affection in the text. A bitter tear and full of absurd words, A Dream of Red Mansions contains Cao Xueqin's disgust and nostalgia for the whole social system at that time, his pursuit and detachment from life, and even his observation and interpretation of every character. Something' s mist, written by American writer Heller, juxtaposes pain and laughter, absurd facts with disproportionate calm response, cruelty and gentleness in a gloomy tone, and achieves the tension effect of diverse combinations of emotions. The more levels and densities of the emotional structure, the richer the emotional bearing of the text; At the same time, the richer the combination of opposing emotions, the higher the oscillation frequency from balance to imbalance, and the more prominent the tension effect.
The fuzziness of words and the fullness of emotions often correspond to each other and promote each other. It is often that you have me and I have you. * * * Co-planting is based on the author's perception, understanding and experience accumulation. A meaningful text is often an emotional one at the same time. Polysemy and emotional fullness can be regarded as a treasure trove of resources to create literary tension, and a text without rich stylistic style can not be said to have tension at all.
Third, it contains contradictions and conflicts. The contradictory factors in * * * I can be said to be the direct driving force of literary tension. Where there are opposing and interrelated forces, impulses or meanings, there is tension. This is just as Li, a contemporary Chinese poetry theorist, pointed out: unobstructed and honest prose culture can not constitute tension, but should form a harmonious new order composed of disharmonious factors on the basis of unity of opposites, and seek peace and differences in the trend of opposing forces. For example, Du Fu's quatrains: "Two orioles sing green willows, and a row of egrets rise to the sky. The window contains Xiling Snow, at the entrance of Wu Dong Wan Li Boarding ",that is, the delicate and meticulous fine pen is in harmony with the broad and vigorous thick pen. Another example is China's ancient prose theory, that is, under certain circumstances, people often show abnormal mentality, words and deeds, and this abnormal mentality and words and deeds are logical. For example, Du Fu's poem "Shu Huai": "It's been October since I sent the book". If the cloud "doesn't see the news", it is very common, but it is thrilling to be followed by "anti-terrorism news", which is an extremely harmonious tension effect. Similarly, in A Dream of Red Mansions, Lin Daiyu, who used the tears of this life to repay the feelings of previous lives, often cried at ordinary times. When her time is running out, she always smiles or laughs without saying a word, which is the amazing use of abnormal harmony. In fact, there are two kinds of emotional opposition and transformation. Shu Huai's poem is "hope" and "fear" for letters from home; In A Dream of Red Mansions, it is Dai Yu's superficial "laughter" and heartbreaking "sadness", which produce tension effect in the opposition between anti-logic and logic, anti-reason and reason. The juxtaposition of contradictory factors is the driving force of tension, because it is the two sides of contradiction that produce opposing forces, and the dynamic balance of tension effect is formed in a unity.
Fourth, the sense of movement of the bow. Emotional catharsis and the display of multiple meanings cannot form literary tension. Body tension is in a static or relatively static state. Similarly, literary tension should also include the unbalanced state in the balanced state, and the display of the unbalanced state can only be the resolution of tension. To form literary tension, we must first be able to accommodate the "big" with multiple meanings and full emotions into the "small" of literary images. A fragment from the poem "Tea Mountain" by Spanish poet Aarti: "In the glass of the dining table,/a small garden has been opened,/which is a green friendship with glass injected in spring." The size of the garden and the breadth of friendship are all poured into a small teacup. The vastness and remoteness of "a hundred mountains without birds and a thousand paths without footprints" (Jiang Xue by Liu Zongyuan) and the secluded lofty feelings and loneliness of "a boat with a leaf and a bamboo cloak" are finally condensed in the thin fishing line of "an old man fishing in the cold river-snow". Secondly, the expression of emotion and meaning should be implicit and enlightening. Shu Ting's poem "Missing", "A colorful wall chart without lines/a pure but unsolvable algebra/a dulcimer, a string of rosary beads and rain picked under the eaves/a pair of paddles that can't reach the other shore//The buds wait silently/the sunset goes away/maybe there is an ocean hidden/but only two tears flow out", the poet is suffering in the emotional vortex. On the one hand, the acquisition of the sense of action of preparing to bow requires the accumulation of emotions. For example, Lu Xun said, "I don't think poetry should be written when feelings are strong, otherwise the sharpness will be too exposed, which will stifle the beauty of poetry." ⑤ This is what Dai Wangshu called "emotional countercurrent" ("Poetry"). On the other hand, the author needs a strong ability to control emotions and words, not only to let go, but also to converge. Only by letting go can we achieve strength and tension. The sense of movement of literary tension, like Miron's sculpture "The Discus Thrower", captures the instantaneous action of the discus thrower swinging and bending in the opposite direction before struggling to throw it, making the whole human body gather great strength like a compressed spring and a full bow; Like a galloping horse suddenly flying over a cliff, Xiao Long's empty valley echoed.