1. Read the text carefully from the analysis of the distortion of speech symbols
In order to make the inner image fit with the expression of language, the writer should go beyond the convention, break through the norms of language, break the linear arrangement and combination of general language, and use flexible parts of speech, rhetorical devices, abnormal sentences and other ways to deform the combination of speech symbols, giving people a sense of strangeness, increasing the difficulty of readers' perception, attracting readers' attention, thus obtaining a strong aesthetic effect. In reading practice, we often encounter languages that seem to be inconsistent with grammatical norms and logic, but have strong artistic expression. These languages are not restricted and bound by common grammatical norms, and often have a very strong personal and temporary emotional color. It is in this personalized application that we can identify the personality and deep and potential emotions of authors and characters.
For example, in Lu Xun's novel Kong Yiji, "About Kong Yiji really died". In this sentence, "about" and "really" are contradictory. Why is there such a contradiction? Some people say that it is easier said than done, which is in line with speaking habits. Some people say that this is a probable judgment, which is itself ambiguous; Some people say that this is a child's tone, regardless of grammar and logic. In fact, the reason why a sentence uses this word or that word is through a series of choices by the author. Lu Xun used the word "about" instead of "probably" and "maybe". Obviously, after comparison and selection, he thinks that this word is more in line with the identity and tone of the waiter. People like Kong Yiji were doomed in the old society. Why doesn't the author adopt a positive tone? This is not only because the boy didn't see Kong Yiji die with his own eyes, but more importantly, he is lucky, or I hope he won't die. However, according to the inevitable law, Kong Yiji had no choice but to die, so he used the word "indeed" to form a contradictory judgment, which rendered a sad atmosphere.
For another example, in Me and Ditan, the writer Shi Tiesheng described the barren but not declining Ditan, in which he used a sentence: "It eroded the grandiose colored glass under the eaves of the ancient temple, faded the scarlet displayed on the door wall, collapsed a high wall and scattered the jade carving fence." When reading these sentences, we should not only taste the unconventional use of words such as "grandiose" and "show off", but also carefully taste the unconventional use of sentences. Because the conventional sentence is often expressed like this: its glass has been eroded, scarlet has faded, high walls have collapsed, and jade carving fences have been scattered. But here, the author moved the word "denudation" to the beginning of the sentence. Why? In our taste, we may feel that such a shift of these words will give readers a feeling of "strangeness" and better highlight the barren state of this ancient garden. A little deeper, you may find another problem: the author has written four scenes in succession here, why should he write the last two scenes in one clause? Why not separate them like the first two and add adjectives corresponding to the first two clauses to form a compound sentence with four clauses? In close reading, we may also appreciate the beauty of the author's sentence-making: after four sentences of compound sentence, the language momentum has been enhanced, but the enhancement of the language momentum will dilute the barren atmosphere of the ancient garden here, and the mutation of the third clause highlights the barren scene after the collapse of the high wall of the ancient garden; In sentence structure, it not only connects with the first two clauses naturally, but also produces new changes, making the whole sentence look neat and changeable and swaying into a new posture.
2. Read the text carefully from the blank analysis of speech symbols.
The writer leaves blank in literary works, which is a skill to overcome the limitation of language, so that the works can show infinite content in a limited space, and the unspeakable things can be better expressed with the cooperation of readers. The blank of speech symbols means the openness of literary meaning interpretation. White space is a hidden connection point in the text. What is not said in the article is often the crucial part. Without the imagination of readers to supplement and enrich it, the text cannot be truly reflected and realized by readers.
For example, "holding an oil-paper umbrella, a person lingers in a long, lonely rain lane, hoping to meet a girl as sad as lilac." She has the same color as lilac, the same fragrance as lilac, and the same sadness as lilac. She is sad, sad and hesitant in the rain. "This is a poem or two from Dai Wangshu's Rain Lane. If you arrange it like prose, you will find that this article is really ordinary, but if you arrange it in the original way, readers will find it full of charm and interest.
Holding an oil-paper umbrella alone
Wandering in the long, long
Lonely rain lane,
I hope to see
Like cloves.
A girl with a grudge.
She does.
Clove-like color,
Lilac-like fragrance,
Sad as cloves,
Mourning in the rain,
Sad and confused.
The reason why different arrangements have such different artistic effects lies in that this poem combines the original relatively complete semantics, takes phonetic symbols as the principle, and freely prunes. This poem not only creates the beauty of modeling and music through branches, but also enhances the sense of rhythm and vision, and also helps to emphasize the weight of important words in the poet's emotional leap. "Wandering in a long and lonely rain lane", "A girl with a lilac knot", "Lilac color, lilac fragrance, and the same sadness" and so on, all leave out punctuation marks and start a new line, giving people a strong impression, which makes the melancholy, loneliness, confusion and sadness of "I" in the poem stand out.
Another example is the postscript of Gui Youguang's "Xuanzhi of Ji Xiang": "Since this is my goal, I will ask Yu for advice about ancient times or learn some books when my wife returns to Xuanzhong in the next five years. When the lady returned to Ning, she said to the younger sisters, "I heard that the younger sister has a pavilion. What is a pavilion? "At first glance, these words are not as poetic and emotional as the main text, but appear dull and tasteless. Only by activating imagination and building bridges can we feel that this is the author's most economical pen and ink to convey the richest connotation. Ask the students to think and answer: Why did the author write what the girls said? What's the story behind it? Some say it's for deduction, while others say it's for the deep affection between husband and wife. The student answered yes, but not completely. My wife heard many wonderful historical allusions from the author, and saw the world from Nan Gezi's book, which broadened her horizons and enriched her spiritual life. So when she returned to her parents' home, she proudly and interestingly told her little sisters about the life in the pavilion, which made them feel envious and fascinated by the reading life in the pavilion. The seemingly calm and simple narrative contains the deep affection between husband and wife that day, but today, when people go to the empty cabinet, there are very few figures of "my wife died in a rotten room", so there is no need to say more about the sadness. Only the loquat tree planted by my wife in the yard is graceful. When I see a tree, I think of people and the tree is dying. That kind of long-term sadness needs no publicity. Students just need to imagine this situation and feel the pain. Gui Youguang's brushwork is reminiscent of Hemingway's iceberg principle. If you don't stimulate students' imagination and make appropriate explanations in the middle, it will be difficult to find the seven or eight wonderful underwater.
3. Read the text carefully from the analysis of the combination of speech symbols
People's emotional content is the most uncertain and elusive, and it is impossible to quantitatively analyze and logically standardize this emotional uncertainty. When a writer chooses words to form a language unit, only through the aggregation of the semantic fields of these words and the choice of the combination relationship can he clearly or vaguely reveal the expression of emotion. Fuzzy language has strong expressive force and can attract readers more. It can produce a vague meaning and experience. It is difficult to express in words, but it stays in people's experience, which makes readers shift the focus of reading thinking to the feeling of the overall aggregation of speech style, form and modality of the text, and interpret the life feeling behind the combination of speech symbols as a whole.
For example, the text of the Introduction says that Lu Xun copied ancient monuments in the S Pavilion. When an old friend Jin Xinyi (Qian) visited, he described it like this:
"What's the use of copying these?" One night, he flipped through my ancient tablet notes and did a research topic.
"It's no use." "Then what do you mean by copying?"
"It doesn't mean anything."
Lu Xun's answer in the article seems clear, but it is actually vague. Since it's useless and meaningless, why copy it? Lu Xun didn't mean to instill anything in us here, nor was he mystifying and pretending to be profound, but he wanted to express his feelings. As the material shell of Lu Xun's profound thoughts, vague language in Lu Xun's works is a kind of language art that carries great ideological and emotional energy and has irreplaceable unique expression effect. When Lu Xun was a teenager, his father was ill for a long time and got into trouble from a "well-off family", which made him see the true face of the world. In his youth, Lu Xun abandoned the correct way of studying and taking exams, went to Nanjing to find a way out, and later traveled to Japan and arrived in Sendai, only to find that the only way to cure the ignorant and the weak was to cure their numb souls. Soon, he gave up medicine and started a "new life" in Tokyo. Unexpectedly, "new life" died halfway; When Lu Xun returned to China in middle age, he saw the failure of the Revolution of 1911 and the road to saving the country and the people was cut off. He copied ancient monuments to dispel loneliness, but deep thinking and painful introspection are often hidden in his heart. Lu Xun answered his old friends with meaningless vague words, which actually contained his unspeakable feelings of loneliness, loneliness and sadness. In teaching, teachers should pay attention to guiding students to realize that this is Lu Xun's unspeakable loneliness and sadness in the process of exploring the deep meaning of language expression.
For example, teach Mr. Zhu Ziqing's "Moonlight on the Lotus Pond", "A person feels like a free man when he can think of everything and nothing under this boundless moon". Looking at it alone, it seems difficult to grasp its true meaning: does the author think that a free person wants to think or not? Isn't that contradictory? Obviously, understanding these "fuzzy points" is the key to understanding the author's complex and profound feelings. In teaching, it seems impossible to analyze the meaning of this short sentence, and there is no reason to quote classics and discuss the world. But one thing is certain, as long as you put your heart into it, people with a little life experience can appreciate this complex feeling of "having nothing to do and being happy": for a middle-aged intellectual with a heavy life burden and psychological depression, "thinking about everything" means unrestrained thinking, and "thinking about nothing" means a carefree life. What a desirable king of thailand!
Zhuo, a Chinese teacher, now lives in Yuhuan, Zhejiang. Editing and proofreading of this article: Stone in China