Popular lyrics: "I" mentality
Chinese cold narration probably originated in the post-Cultural Revolution period. Historical reasons and "post-Cultural Revolution signs" have had a profound and extensive impact on contemporary society. Writers keep themselves out of society and politics. There is a sense of sanity. Cold and hot narration refers to Yang Guang's analysis in poetry and novel performance.
Cold narrative poets avoid direct lyrical ways of praise, irony, anger or joy. In their poems, the warm, clear and simple emotions disappeared, and the poet's exuberant passion slowly "flowed out" in a very dull and calm tone. They try to avoid the common and powerful sentences in lyric poetry, and the narrative elements are greatly strengthened. The poet hides his love and hate in his poems. Lyricism hides the poet's personal mentality in poetry from an outsider's perspective and cold lyric style, allowing readers to interpret and appreciate the emotions in poetry in their own way. For example, "there is a tacit understanding that cannot be expressed/so one is sick/the other is sick/but the window is always not bright/four seasons are not sick/... Laughter without a purpose is the purest/and acquiescence is a conspiracy/so the virus is popular//(Beibei's acquiescence). Apart from "Laughter without purpose is the purest" and "acquiescence is a conspiracy", the whole poem is expressed in plain narrative sentences, with some philosophical points and a little love and hate. The technique of cold narration (cold lyricism) is skillfully and naturally used here. " Acquiescence, as the poet's inner longing, expectation and call, should be full of enthusiasm and anxiety. But because it was written in such a cold and lyrical way, this poem gained a deeper emotional space. Another example is "Please put your hand down. The blind man bent over/massaged his waist like a stone. /The waist of life is so empty/It causes pain. /Blind people massage their waists day after day harder than stones. //(Yongming Zhai's Several Ways of Masseurs for the Blind) The poet calmly described the life of the blind. The blind man is far away from the poet and seems to be close. Artistic conception and emotion are erratic and profound.
Cold narration not only strengthens narration, but also emphasizes the desalination and colloquialism of images. Avant-garde poets walked out of the colorful "flower tube" of Beidao and Shuting, and penetrated into poetry in a purely oral and purely secular language way, allowing readers to see the poet's vague and strong feelings. Therefore, spoken language has become a sharp weapon against images. Poets take the purity, naturalness, simplicity and simplicity of spoken language as aesthetic standards. They wrote about life like this: "I want to be a good husband/but sausages are always sold out/the world doesn't know why/I can't pass//(Wang Xiaoni Memorial). This kind of language is rough and handy, but behind it is a profound excavation of ordinary people's lives. In the poet's casual narration and lyricism, there is his inner agitation and sadness. They wrote people like this: "On the day of burial/his wife didn't come/several workmates took him up the mountain/they said he was small/not heavy to carry//(Yu Jian's Luo Jiasheng) The feelings drifted away in plain spoken language and cold narration, which made people deeply moved.
Because of narrative, it is easy to lose the external characteristics of language such as rhyme, flatness and rhythm, so the poet pays special attention to language sense, intonation, posture and voice. They are always patiently looking for language feelings. With "feelings", language will be fluent and emotions will sprout. For example, "He stepped on the dust/didn't look back, he was expecting rain/watching the sky meet clouds and wind/he was sick only yesterday/but he was able to walk today and was very excited//(Chen Jiaqiao's" Inertia of Man "), and his voice was flat and slow, as if describing what he had experienced. Readers can observe not only his mentality, but also their own. As can be seen from the poems quoted above, the author pursues to express the sense of language, intonation and language potential, and reflects the mentality in a specific context with a special voice, and the prose brushwork has begun to immerse himself in poetry.
Popular lyrics: "I" mentality
Passionate lyricism is inseparable from expressing desire in words. The language of poetry has changed from the language space of the country and the nation to the "personal discourse space". Poetic language has gained ontological significance to a certain extent, and poets pay more attention to human ontology, so it is more direct and convenient to express their inner world and reflect their relationship with society and the universe. The passionate lyricism here is different from the direct expression of the chest in the past, and there are few direct praises, satire and anger. Like cold lyricism, poets rarely directly intervene in words, but try to let readers communicate in words. The carnival of language has played a role in the fiery lyrical expression, and "language in droves" has contributed to the use of long sentences in prose culture. This prosaic sentence pattern is inseparable from the insertion of the "I" point of view, the organization of descriptive language and the rhetoric of supplementary tone. With the return of the ontological meaning of poetry, the viewpoints "I" and "we" which are most suitable for expressing personal mentality and personal discourse began to flock to poetry in large numbers. I can write a variety of people's emotions and communicate with everything in the world. Inspired by poetry and spurred by a strong desire for language expression, every lyric sentence and every narrative sentence is constructed into a place where I can freely stack languages. Looking through the poems of Han Dong, Plantago, Xichuan and Yilei casually, we will find that the insertion of "I" and "we" has brought unprecedented spectacle to the carnival of poetic language.
Because of the emphasis on "I", the world arbitrarily constructs, describes or expresses the existence of this world centered on "I". A large number of attributives, complements and adverbials are piled up together, which do not follow the usual logical rules and form a long-term multi-compound language modality. For example: "Everything can be found in another thing/a cigarette will eventually be lit by another fire/I have no dialogue, so we become a dialogue//(Yang Li's dialogue);" But I don't know who has the key to the box/I don't know who conceived the password of a bird's call hidden in the dark/In the second description, it appeared for a priest wrapped in leggings//(Yu Jian named a bird's call); "It's hard to do anything in this world/we try to be a person like a stone, try to be a stone, try to be a pine and cypress/we are afraid that poets can't do it, even people can't do it//(my book" Wandering Mises "). The expression of the world flows out or squeezes out in turbulent language. Under the emotional motivation of the poet, rich or excessive synonyms, synonyms or antonyms are randomly superimposed, which makes the lyric narrative better extended and obtains the specific modality at this moment. Long narrative lyric sentences extend forward and cross the complicated language space, naturally producing smooth sounds. In the sentence pattern of strong self-confession, it also shows the poet's complex mentality.
In order to express emotions more vividly, concretely and fully, hot lyricism often uses a variety of rhetorical devices, especially in a large number of figurative structures such as "image", "image" and "likeness". Although it once made narrative lyricism indulge in language games, it not only gave special situations to characters, events or detailed actions, but also gave the inner world a supplementary emotional appeal. Just like those long sentence patterns with colorful images, this supplementary sentence pattern produces extra rhythm impulse in narrative lyric, and its stretching strength and suddenly opened space give a broad venue for emotional venting. Such as "Pastoral will not wander in the street at this time", "Raise three barrels of moonlight to purify the body" and "A slug calls me in a dream", etc., and construct a certain state of mind with a rhetorical narrative lyric contrast. There are too many figurative sentences in lyric narration, such as "thinking" and "liking". If you are not careful, you will feel overwhelmed and redundant. In Li Yucong's The Ship Becomes Us (composed of eight poems), "as if", "as if" and "as if" appeared 23 times, and in Wang Feng's The Big Clock, "as if" appeared 9 times. So many figurative sentences make the poet's feelings more nervous in the image flow. On the one hand, the poet opens his heart, on the other hand, he reveals spreading emotions in his poems, leaving poetry for poems and readers.
Although the lyric style caused by cold narration and hot lyricism will be passed down from generation to generation, it will be used excessively or orderly by poets, which will cause the impact and confusion of poetry to some extent. However, as a highlight of writing practice and an expression of emotion, it still brings some vitality to poetry creation, and makes a directional exploration and attempt to poetry, which will constitute the elements of poetry characteristics in a certain period. Whether the poets in this period can skillfully use this lyric style will affect the success of poetry creation itself to a certain extent.
Classical Narration: Are you asking about China's classical narration or foreign classical narration?
The contribution of the time structure and speech scene of China's classical vernacular novels lies in the persistence of the present and the control of the narrative duration. This means that the writer tries to concentrate and locate the flow of time, no matter how long the story is, at least on the surface, it must give the reader a sense of completeness that comes to an abrupt end in a certain period of time. In fact, the narrative style of China's classical novels is regarded as intermittent, which is in contrast with the western novels of 18 and 19 century. Although at the most basic level, the narrative of China and the West
Stylistics appears in order, but China's classical novels tend to avoid developing events in order, and tend to overlap or juxtapose events and non-events to emphasize the importance of equality between them, thus reflecting the experience of life at the same time.
China's classical narrative style, like China's philosophy, conceives existence in a constantly flowing, changing and reciprocating way. Personally, I think this is a bit exaggerated. However, the "totality" of the continuous flow of strong electricity makes China's classical narrative style remove the obvious sense of direction and produce the impression of "stillness".
Simply put, in structure, cold narration is very informal, because it has no meaning, while classical narration emphasizes the integrity of the story.
Emotionally speaking, cold narration is the feeling of others, and classical narration includes both oneself and others.