Masterpieces are always masterpieces, not grandstanding. If you extract a sentence or a paragraph, you will feel endless meaning and endless. As an essay, novels never exclude the involvement of prose, poetry, painting, music, drama and other styles. In this respect, any works of "modern literature", like creatures, roots, leaves, flowers, fruits and seeds, can be dissected and grown independently. The essence of their "anti-tradition" is only superficial behavior; In fact, their bones are the most classic. Because classical Chinese novels, such as vernacular novels, have always been fluent in poetry and skillful.
For example, the "leap soil" in Lu Xun's "Hometown" can be a text for primary school students; Lao She's Camel Xiangzi can be taken out under the scorching sun and heavy rain and become a model essay. On the other hand, "contemporary novels" can not be piecemeal, but can only judge their form and theme as a whole. The one-sided path of "Westernization" has led to this drawback for a long time, because the writer only learned "Xipi". Modern writers, on the other hand, know everything from ancient times to modern times, at home and abroad, and know everything about poetry, calligraphy, chess and calligraphy. We can feel the weakness of "contemporary novels" only by academic standards and knowledge horizons, and it is not a day's work to surpass "modern literature". Not to mention those Zhong Yong-style novel code writers who are quick to fool people when they pick up a pen.
This is a work of Me, which mainly describes the environment. "Everything is my color when I look at things", something like that. Both natural environment and social environment, after the writer's subjective experience, have become the language texture after "I want to". The spiritual legacy left by Yu Dafu's writing lies in how to break the "thick barrier". How to cross the identity barrier between intellectuals and coachmen and how to cure the aphasia of "Runtu people"? In fact, "going to the folk" does not necessarily mean learning or using "folk language". It is enough to belong to the "folk position", because the position determines the method, the method determines the perspective, the perspective determines the attitude, the attitude determines the emotion, and the emotion determines the style. Although it is difficult to combine knowledge with practice, discourse practice is better than empty talk.
1. The narrator's hero's long-distance imagination of the driver, the narrative after close listening, and the on-site observation:
I felt embarrassed when he said 1, so although I should only give him 40 tung trees, I must give him all my 48 copper coins. He thanked him and pulled an empty car to his west home on the dark road. I watched him go for a ride, but I dreamed of his family. When he walked home, his woman must have heard a voice from a distance and ran out to meet him. Take out the copper coins from the car hopper and return the car to the garage. He went back to his room, washed his face with a basin of water and smoked a few mouthfuls, so that he and his wife could enjoy a healthy dinner under foreign lights. If he is interested, he will drink a penny or two for nothing. After drinking a little wine and talking nonsense, he can hug his wife and children and fall asleep. This kind of deep sleep is probably the only enjoyment of their working class.
He said it's really hard to survive now. He said that the price of foreign cars has increased by one or two copper coins, while the prices of coal, rice, oil and salt have doubled. He said that foreign car rental owners are really picky. If a bone bends a little and a small nail is missing, it will cost a lot of money. He said that he pulled rickshaws all day long, and the money he pulled was not enough for the owner to squeeze, not to mention the broken belt and bent bow. He said that his woman can't manage the housework and always spends money for nothing. He said his boss was eight years old, and he was two or three years old. ..... I sat in the car silently, watching the terrible stars and moons in the sky, crossing several dark and silent narrow lanes, and listening to his story carefully. I don't think he is alone in these pains. I really want to jump out of the car and cry with him, but I am wearing a bamboo robe and a bunch of educational ropes in my head, which bind my sincere feelings. Since that night, I have a feeling of being afraid to see him, so I haven't seen him for more than half a month.
His house has only a small room, half of which is occupied by a big kang. It's not very dark outside, but in his small room, it's already too dark to distinguish objects. He put one hand in his waist and pointed to a pile of kang, and a woman sitting there cursed twice. Two children climbed into the kang. As soon as he entered, he saw his own standing back, which was invisible to his people and children. Later, I greeted him, and when I looked at the place he was pointing to, I saw a woman. I stood for a while, my eyes used to looking at his two children repeatedly in the dark.
2. Look at Yu Dafu's landscape description, which is a wonderful article. Let's look at his Clouds in Beijing:
The clear sky in Beijing is really different from the sky in the south. On sunny days in the south, there is always a thin layer of clouds flying, and the blue of the sky always has a very pale white taste. The sky in Beijing is not so clear. When you stand on the ground and stare at the sky for a while, it seems that you can give birth to two wings, one flying into the air. This is the time when the wind can't be mentioned alone. If it is windy together, people can't open their eyes in the sky, let alone the color of their eyes.
Look at the scenery around the moat outside Pingze Gate in Beijing;
Outside Pingze Gate, there is a city river. Although this river is not as wide as the canal outside Chaoyangmen, it is rainy and green in spring and autumn, so it can sail south. The ancient weeping poplar road on both sides of the river is reflected in the middle of the river, and it also smells like bamboos along the embankment. The open space by the river has grown into a green field, and there are always idle people there to adjust their hawks and release their horses when they are late. When the sun is about to set, standing on the ferry in the middle of the city river, looking north, you can see the tower of Xizhimen, like smoke and fog, melting into a golden yellow, flying high on the river between weeping willows on both sides. On a sunny day in the Spring and Autumn Period, if you go into the city and walk by the river in the evening, it seems that you are watching post-impressionist landscape paintings, which can almost make you forget that you are outside Beijing. Numerous peaks in the western hills, like laughing and sleeping, lie still in the west of the undulating spring fields; If you call it, it seems that these distant mountains can slowly come to you. There are several manors that raise geese and ducks outside Xizhimen, so there are always pairs of white geese swimming there every afternoon in the city river. The last afterglow of the sunset, a ray or two of sunshine from the shade, shines on the backs of these floating white geese, making the scenery more lively and fresh. Don't let the wind do it