However, it is through this ordinary family and trivial events that readers see the extraordinary life pursuit, spiritual outlook and personality charm of China intellectuals. Jiang Yang and her husband, Qian Zhongshu, traveled across the ocean when they were young, studied in Britain and France, and returned to China after the victory of the Anti-Japanese War and the national disaster, and traveled all over the world. Structurally, the three of us are composed of three parts. These three parts are independent and interrelated, forming an organic whole. The first part, We Are Old, can be regarded as the preface of the whole work. With "Zhong Shu", I probably remembered my complaint and told me to have a dream as long as Wan Li's, and started the whole work. The second book, The Three of us Separated, tells the emotional experience of our family living alone in the last few years in the form of dreams. It is the "reverse order" part of the whole work. The third book "Miss the Three of us Alone" is the theme of the whole work, which tells the details of a family's daily life in 63 years by memoir.
These three parts, virtual and real complement each other, and virtual and real are born together. Sketch with a real pen and write with a virtual pen. In this way, the part of "life" is full and rich, and the Jiang Yang family's voice and smile, personality characteristics and life course are vivid. Those true stories and interesting details left an indelible impression on readers. Describing my daughter and her husband's last few years in the form of a "dream" makes her death plain. On the one hand, it may be heartbreaking because the author is unwilling, unable and afraid to recall those years. The author hasn't come out of the pain, she hasn't been able to face up to that life, and she doesn't want to repeat the pain and suffering of her relatives. So the author filtered out many unforgettable past events and details in the form of dreams. On the other hand, from the combination of content and form, death is an illusory thing, which is difficult to grasp with words. It is easier to reveal the true face of death by describing it in the form of dreams. From this perspective, writing death with a virtual pen may itself be the need of content expression. Modernism is used to seek the freedom of stream of consciousness and the truth of subjective feelings, but the expression of emotions is still restrained and implicit. Jiang Yang also used the classical lyric techniques in China's ancient poems to express his feelings through scenery. Through the blending of scenes, the dream is distant and vague, and the sadness of death is too deep. Rich and complex emotions are embedded in the scene, and the charm of classical culture is fully displayed through image metaphor, symbol and suggestion. At the beginning of the dream, Jiang Yang made up an inn, a boat and an ancient plank road, corresponding to the real home, hospital and the road between the two places. "The ancient post road is foggy, Liu Chengxing, miscellaneous trees are born, weeds are born, and several pines and cypresses are hidden in graves." The description of the scene implies desolation, chaos and gloom that lead to death. This is the reflection and materialization of the author's inner sadness.
In the article, the description of willows keeps appearing, and the most frequently written are cold willows and bald willows: "The postal road is littered with leaves, and all the willows become bare cold willows." "The willows on the riverbank began to turn yellow, and gradually turned into bare willows." Willow is the prototype image of the parting motif in ancient poetry and the parting tree in China's lyric tradition, with bitter charm. Facing where you are going, Jiang Yang naturally used this traditional symbolic image. Different from general parting, Jiang Yang's works are cold willows and bald willows, implying that death is approaching and symbolizing death and farewell. The word "bald and cold" embodies the author's extreme loneliness and sadness. After the death of relatives, the author also became a yellow leaf of a willow tree, falling off one by one. "Touching the postal road that I walked step by step, I was sad all the way." Scenery is born of affection, and affection spreads from scene to scene. Emotions are extremely sad, and the scenery is withered and decayed. The combination of the two makes me feel sad at the age of 20, but the intensity of emotion is adjusted by the scenery, and the scenery has charm because of emotion. The neutralization of the two has artistic implication, creating a sad artistic conception of "rustling leaves and leaking moss"
The second film "The Three of us Lost" expresses this profound emotional experience in a dreamy way. Writing dreams is a common form of China's ancient mourning poems to describe dreams and express true feelings. Jiang Yang used this technology. From the psychological point of view, the daughter and husband died seriously ill, and their emotions were deeply stimulated, as if they were in a dream, both illusory and real. Psychology believes that emotions are extreme, and whether they are sad or happy, they will become dreams. From the creative point of view, the free flow of emotions and the expression of subjective real emotions are easy to enter the book with dreams and structure the full text. Can achieve a multi-level, natural and smooth state. At the same time, through artistic narration and description, it can be sublimated into "poetry" to ease the intensity of natural feelings. Jiang Yang's long prose "The Three of us" contains a strong classical meaning. First, the personality spirit of being indifferent to utilitarianism is reflected in the fact that the three of us are together at home and love to study hard. These three are their spiritual pillars, pushing them to a lofty and extraordinary realm. Secondly, the language style is peaceful and simple, and peace means harmony and neutralization. Jiang Yang is best at harmoniously unifying various opposing factors in order to achieve a just ideal state. Thirdly, he combined the lyrical style of sadness without hurting, loaded with too deep death sadness through the classical technique of scene blending, and put rich and complex emotions into the scene, showing the charm of classical culture through image metaphor, symbol and hint.
From the full text, the peaceful style of Jiang Yang's prose is more reflected in the structure of urgency, sadness and joy. After liberation, many political movements gave intellectuals a lot of depression and pain. Every time they write this, they will write an interesting story to ease their anger. Zhong Shu is seriously ill and speaks quickly and urgently. I turned to the warmth of ordinary people and spoke slowly, with a gentle and calm tone. Diseases are intertwined, sadness and joy are mixed, and finally "harmony" is achieved. In fact, there are no simple joys and sorrows in real life. The two are always mixed together and integrated. When Jiang Yang understood and treated life with a peaceful heart, he naturally hit the natural law of life and the classical thought of "harmony is precious".