Tell us that when dealing with evil people like wolves, we cannot compromise. We must dare to fight like butchers and be good at fighting in order to win.
"Three Stories of Wolves" are all stories about butchers encountering wolves and killing wolves under different circumstances.
The first chapter focuses on the greedy nature of the wolf, and the revelation is: greed will kill you, you must distinguish the priorities, and do not lose the big for the small.
The second article focuses on the deceptive tricks of the wolf, and the inspiration is: satirizing evil people like wolves, no matter how cunning they are, will eventually fail. When dealing with evil forces like wolves, we cannot compromise. We must dare to fight and be good at fighting in order to win.
The third chapter focuses on the sharpness of the wolf's claws, and the inspiration is: if you are brave but have no strategy, you will be defeated. As a person, you must adapt to changes, give full play to your own strengths, and use your strengths to avoid weaknesses.
Extended information
Appreciation and reading of Pu Songling's "Wolf"
Returning late after a slaughter, all the meat in the load was gone, with only bones left. On the way, two wolves traveled a long distance.
The objective situation of this butcher is omitted except for the word "late". There is no meat but bones, which plays a great role in describing the butcher's difficulty in coping later. "Two wolves on the way" indicates that it is not one. If it were one, there would be no thrilling story behind it. Following him is inescapable and is a long process. It wasn't until he had no choice but to throw the bones to the wolves. From the omission of this process, we can not only see the simplicity of the writer's writing style, but more importantly, the writer's ingenuity. Everything mentioned before will surely develop later.
Pu Songling's narrative skills are not only in narrating relatively simple things, but also in describing and retelling complex things, he can also make them have an effect that is no less than description.
One wolf has its bones to stop, but the other wolf still obeys. Throw it again, the rear wolf stops and the front wolf comes again. The bones are gone, but the two wolves drive side by side as before.
Here, it is worth noting the flexible use of quantifiers. Pu Songling originally used two "ones" (one wolf has its bones to stop, and one wolf remains) to represent two different wolves. Immediately afterwards, the situation changed, and he switched to using position to distinguish (rear wolf, front wolf). After the bones were eaten, the two wolves continued to follow the butcher, so the author simply used the word "two wolves" vaguely (and drove them side by side), no longer emphasizing the difference between the two.
Then, the author made another difference: "One wolf walked away, and the other dog sat in front." Still using the word "one", the two wolves were easily and appropriately separated. . It is enough for readers to obtain the necessary information and imagine the difference between the two based on the context. This is the essence of refined "essence". Reduce actions and situations so as not to distract readers from the plot's causal chain. This is one of the reasons why this article is so concise.
The beauty of this article is not just conciseness, but also the organic organization of limited details.
As the story progresses, the narrative emerges with details and metaphors, and a bit of description. For example, "The wolves did not dare to move forward and stared at each other", "One of the dogs sat in front of him. For a long time, his eyes seemed to be closed and his mind was very idle." This is because this state is a suspense, and there will be an explanation at the end, which is of great importance to the plot: the butcher realized after killing two wolves that the wolves acted absent-mindedly in order to paralyze him . The ending explains the antecedents and gives readers a new experience of the meaning of the plot.
There is a bit of discussion at the end of the article, but from the perspective of the novel, it can be omitted. Modern novelists often avoid telling the theme in full, because hiding the tendency in the plot development process is more conducive to mobilizing readers' psychological participation. Modern novels tend to leave ample space for the diverse understandings of different readers.
But Pu Songling is an ancient Chinese classical Chinese novelist. In his "Strange Stories from a Chinese Studio", almost every story has a discussion behind it, sometimes using the name of "Yi Shi" (actually, that is, himself), sometimes as part of an article. Think of this as a posture. This is not only the case in "Strange Stories from a Chinese Studio", but as early as in Sima Qian's "Historical Records", there is "Taishi Gong said" at the end of the article. This is a traditional format, Pu just made some slight adjustments.
Baidu Encyclopedia--Wolf (Excerpted Chapters from "Strange Stories from a Chinese Studio" (Three Wolf Stories))