The guest tour starts tonight, and Mao Yan's dream is shattered.
Toad light cloud falling outside, firefly water next to the bright.
In the early years, there were difficulties and obstacles, and the road to poverty burst into tears.
When I went to the country, nothing hurt.
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Wu, the author of The Scholars,/kloc-lost his mother at the age of 0/3 and his father at the age of 23. The people bullied him as an heir, a biography of two generations, and openly robbed his family of a large number of ancestral heritage. Unfortunate things happen one after another. Wu Xiang failed, his wife Dow died of illness, and his family property was also squandered. The local people regard him as a typical black sheep.
Wu decided to leave his hometown and live abroad. However, at the thought of his academic failure, hopeless fame, hard life and bleak future, he couldn't help feeling at a loss. Wu wrote the above poem before leaving home, and this mood can well represent the mood of some people. Go out this time and never come back. The author tossed and turned in a hotel near a small bridge and couldn't sleep for a long time. Through the window, I saw a bright moon falling from the sky. In the dark night, only the light of fireflies is flashing, and sadness and loneliness linger in the author's chest. At the thought of the great changes in my family, I have accomplished nothing and have no place to stand. I want to leave my hometown and wander aimlessly, and sad tears gush like spring water.
Extended reading: character evaluation
Wu Yisheng created a large number of poems, essays and historical research works, including twelve volumes of Wenmushanfang Poems, of which four volumes exist. However, it was his satirical novel The Scholars that established his outstanding position in China literature. It took him nearly 20 years to finish the novel until he was 49. People established the "Wu Memorial Hall" in his hometown; Wu's former residence was also built in Taoyedu of Qinhuai River. Great changes have taken place in Wu's life and thoughts. In life, he went from rich to poor; Ideologically, he expressed diametrically opposite views on fame and wealth. He grew up in a Kejia family for generations and spent most of his life in Nanjing and Yangzhou, where he was familiar with the bureaucrats, gentry, rich children and celebrity diners. In the life of these "upper class people", he indignantly saw the bureaucratic favoritism, the arbitrary local accent of the gentry, the mediocrity of the rich children, the greed of the insiders, the art of celebrities and the fraud of diners. Coupled with his personal life from rich to poor, it is easy to detect the face of "upper class". In The Scholars, he thoroughly exposed the decay of all kinds of intellectuals' spiritual life, which is really "mysterious but not orthodox, such as casting the dominant position of Dayu" (Travel Notes of Shan Bozhi, Volume 4). And because of the vivid artistic image, his works are particularly attractive and touching.
He experienced three generations of emperors: Kangxi, Yong Zhengdi and Qianlong. At that time, the capitalist relations of production sprouted and the society showed a certain degree of prosperity. However, this is only a glimmer of hope for the collapsing feudal society in China, and the superficial prosperity can't hide the fact that the building will fall down. During the years of Yong Zhengdi and Qianlong, while gradually suppressing the armed uprising, the rulers of the Qing Dynasty took Daxing * and set up a learned macro-character department as bait. Examining stereotyped writing and opening imperial examinations imprisoned scholars and advocated neo-Confucianism to deal with intellectuals with ruling thoughts. Among them, the imperial examination system is the most harmful and influential, which makes many intellectuals fall into the trap of pursuing wealth and become ignorant and shameless philistines. Wu saw through the dark politics and decadent social atmosphere, so he opposed stereotyped writing and the imperial examination system, was unwilling to learn from others, and hated the literati who were obsessed with art and were keen on seeking fame and wealth. He reflected these views in his Scholars. He profoundly exposed and criticized these ugly things in an ironic way, showing his democratic ideology.
Extended reading: literary characteristics
The Scholars is the first novel of China. Before it, there were already novels in China literature, such as Romance of the Three Kingdoms, Water Margin, The Journey to the West and so on. The groundbreaking significance of The Scholars is that it takes realism as the background and irony as its own aesthetic pursuit. Together with A Dream of Red Mansions, it constitutes another peak of China's ancient novels and plays an irreplaceable role in the development of China's novels. The content of this book is extensive and profound, shining with the ideological light of democracy and progress. With sharp brushstrokes, the author mercilessly lashed the decadent essence of feudal imperial examination system and its harm to intellectuals' hearts, vividly portrayed a series of pedantic scholars, hypocritical fake celebrities who were deeply poisoned by imperial examination, and also shaped ideal figures. Although under the guise of the Ming Dynasty, it is a true portrayal of feudal social life. This work not only takes satire as the main artistic means, but also differs from the usual novels with central characters and events as the story structure. It is an artistic whole with interlocking stories and interlocking characters, which is independent and echoes. It laid the cornerstone of China's satirical novels and had a great and far-reaching influence on later literature.
The tradition of realistic literature in China is very long, which can be traced back to the era of The Book of Songs. Literature should be beneficial to people all over the world, and the idea of "beauty thorn" has been put forward in Preface to Shi Mao. Facing reality with a critical attitude is the core of realistic literary spirit. Yuefu inherited this tradition and carried it forward in Du Fu's poems, while Wu injected this tradition into the novel art and showed it with great courage in the form of irony and lashing. The literary tradition he initiated was widely respected in the literary world in the late Qing Dynasty, which had a great influence on the condemnation of novels by important literary schools.