Besides infatuation, the characters in Qiong Yao's novels also show incomparable kindness and sincerity, and they can sacrifice themselves for others in difficult times. For example, Grandpa Hai in the grass by the river, Yuhang Lock Building in the smoke, and nude painting of the sea in the crescent moon. There are few bad guys in Qiong Yao's novels. The tragedy of the hero is not caused by the true meanness and sinister intentions of others, but by the conflict between human reason and emotion. What the hero and heroine have is a tragedy that cannot be freed from the whirlpool of love. Just like He and Li in A Few Sunsets, they can control their own destiny, but they can't control their feelings. Li can jump into He's arms, cut off his feelings for having a wife, but can't get rid of his feelings. The same is true of He. When Li can't belong to him, he can't get rid of the shackles of feelings, so that he watches the sunset silently every day. ...
His works are not ungrateful, even if there is a little deception, the author will be punished, so he hid his marriage from Li, but he eventually lost Li. When Cai Lan learned that He Feifei was madly in love with Ke Mengnan, she could not sacrifice her feelings, which led to He Feifei's death. Finally, she lost Ke Meng Nan.
Love each other in poetry and painting.
The artistic conception is beautiful and poetic, which is a major feature of Qiong Yao's novels. I like "the sunset in the morning and evening, the extremely cold wind, the misty mountains and rivers, and the gathering and scattered life"; For example, "the sky is a clear blue, the sun shines brightly on that blue, and several white clouds float leisurely in the sky, drifting from one side of the sky to the other with the meaning of laziness, freedom and unrestrained"; For example, "The setting sun shines quietly on the water, and thousands of golden lights penetrate the running water, just like a net made of golden thread sown by a fairy …" all reflect this point.
The most striking and prominent feature of Qiong Yao's novels is that ancient and modern poems are mixed together, translated slightly to make them conform to a certain rhythm, and recited repeatedly in the book, which enhances the artistic charm. For example, in "On the Water Side", the thrilling "green water is grey, white fog is boundless ... in the middle of the water." This poem comes from Qin Feng in The Book of Songs, the first collection of poems in China: "The white dew is frost, and the so-called Iraqis are on the water side. Tracing back and forth, the road is blocked and long. This poem is an ancient love song. With a little translation, Qiong Yao is not only easy to understand, but also makes the artistic conception of the poem harmonious and unified with Du. ...
Why do Qiong Yao's novels have such unique aesthetic value? This is mainly due to her ingenious inheritance and application of China's classical poems and her profound understanding of the aesthetic mentality of the Chinese nation. She has a unique condition-her father studies the history of China and her mother loves classical poetry. Under the influence of her parents, she read and studied a lot of China classical literature. Because of this, her works often reveal a poetic realm and exude an oriental aesthetic feeling.
Qiong Yao's novels praise love, but at the same time they downplay the environment in which the characters live. However, when she encountered obstacles in the process of writing the protagonist's pursuit of love, she also exposed some social diseases, such as the concept of family status caused by money first, so Qiong Yao's novels have certain cognitive value. When she described an ideal love kingdom, it was a protest against the dirty emotional world of capitalism. However, her works do not have the power to profoundly expose and criticize society. What she tells is always just some small emotional love stories. Because this kind of love is too divorced from real life, it will inevitably lead to the lack of soul-stirring critical power in the corresponding works, and it will inevitably be impossible to further expose the emptiness and reality of tragedy from the social angle and historical roots.