First, the influence of Zhou Zuoren's prose on modern prose.
Zhou Zuoren is the earliest advocate and pioneer of China's modern prose. It is no exaggeration to say that he is a great man with outstanding achievements in the history of modern literature in China. He exerted an indelible influence on the development of China's modern prose, whether in prose style, emotional way and ideological connotation.
Keywords: Zhou Zuoren's prose affects the emotional mode and ideological connotation of modern style. Zhou Zuoren's prose has many styles, and his beautiful essays, essays, essays and notes are all the objects of his writing. In these creative processes, Zhou Zuoren not only insisted on the independence of prose style, stressed that prose style was different from novels and poems, advocated clear distinction and strictly observed the prose system, but also tried to break the boundaries of various styles and seek a breakthrough in prose style, so that various prose styles could be integrated with each other. It can be said that Zhou Zuoren's prose is both opposite and complementary. The first is beautiful prose, and Zhou Zuoren's beautiful prose represents a "certain standard" of modern prose style. "Beautiful writing" represents a new understanding of modern prose style. For the early development of modern prose, Zhou Zuoren replaced the broad and narrow categories of prose with the names of thesis and beautiful prose, which influenced the later development of prose. Essays, Zhou Zuoren's essays often use gossip and speak willfully. Prose, the concept of prose represents the further thinking of modern prose style. Essays and notes, this style is all-encompassing, and all social things are recorded in it. It is very free and has the characteristics of essays.
Zhou Zuoren's creation of the above five styles not only emphasizes the independence of style, purifies prose style, but also seeks a breakthrough in prose style. It is Zhou Zuoren's seemingly contradictory creative mentality that enriches his prose style and opens up a new situation of modern prose style.
The development of modern prose style has played an indelible role.
Zhou Zuoren's individualistic spiritual essence with oriental color and individualistic spiritual essence from other places are integrated into the spiritual level of his prose, which combines his prose spirit with the East, thus forming a style of Zhou's prose that is different from traditional prose and forming a new prose trend, which has had a great impact on the connotation of modern prose and still has many followers.
For Zhou Zuoren, emotional expression is also a way of writing articles, so his prose pursues individuality and expresses his feelings, which can be said to have petty bourgeoisie sentiment. Zhou Zuoren said: "My prose is not so great, but my intentions are always good. I want to divide China's essays into two kinds, one is dagger-like essays (I can't do it myself), and the other is essays like English and French, which are more diverse in nature. I have seen some old episodes, such as For a Cat, About the Buried Life and The News of No Mother, and I still like them very much. (To Bao1April 2, 9651day) It can be seen that Zhou Zuoren himself likes to express himself in prose, instead of thinking like a dagger like Lu Xun's prose, and he won't. Writing for oneself and expressing one's feelings and interests are not limited to reading narratives, among which his "Talking about Wine" and "Wupengchuan" are like this, which are also the closest to the beautiful prose advocated by oneself.
The ideological connotation of Zhou Zuoren's prose pursues a leisure. There is a sentence in the preface of "Talk after the Storm": "The words seem to be very leisurely." He also said: "The choice here is also based on articles close to leisure." And since then, the styles of various essays have been roughly the same. This kind of prose pursuing its own leisure mood is not only the orientation of Zhou Zuoren's own values, but also has an impact on the ideological connotation of China's prose in the future, which can be said to be the way to push China's modern prose to Britain and. But on the other hand, children
A closer look at what Zhou Zuoren said above shows that one sentence is "similar" and the other is "close", which shows that the connotation of Zhou Zuoren's prose can not be detached just by "leisure". In the preface to Talk After the Storm, Zhou Renren also said: "My writing is like leisure, and it is often misleading. Only two old friends know about its suffering. Fei Ming was briefly mentioned in the previous article. Recently, I saw a Japanese friend commenting on his clumsy writing, saying that sometimes he felt very depressed after reading it, and he was deeply impressed by his writing. " He also said, "Leisure is a melancholy thing." It can be seen that leisure actually contains the emotional components that you want to talk about, that is, suffering. Emotion is repressed and can't be expressed freely, but Zhou shows it, which makes his article have an internal tension and a complementary effect. Zhou Zuoren's expression may be more infectious than his carefree expression. The bitterness of Zhou Renren's prose comes from the repression of content, and also from the uncoordinated relationship between leisure and depression or melancholy. Zhou Zuoren once divided leisure into two kinds in his own article. One is "Xiao Xian", which means "nostalgia" and "meeting happily". This kind of article has already been written. The second is "big leisure": "Only when it is helpless, it doesn't need to disturb itself, and only uses a gentle and interesting attitude to deal with it. This so-called leisure is also great humor. " The second is the "depression" mentioned here, which can be said to be the main emotional style of Zhou Zuoren's prose. Writing about people, such as commemorating Xuan Tong, and narrating people, such as going to the grave, are all painful works. The connotation of Zhou Zuoren's prose also has a "simple taste", which is plain to read and seems to have no feelings pinned on it. Although there are some classical Chinese elements, they are generally very easy to understand, but there are fewer and fewer classical Chinese elements. However, simplicity is not easy to understand or make us like it, but literally simple, that is to say, the bitterness in prose can not be understood by everyone.
The leisure, bitterness and simplicity of Zhou Zuoren's prose are all related to his expression and can be included in his prose aesthetics. Zhou Zuoren's prose aesthetic theory is groundbreaking in the history of modern prose in China, which is completely different from the traditional concept of prose.
This made his prose spirit take on a new look in China, and finally caused a new prose trend.
Zhou Zuoren's prose has a far-reaching influence on the development of China's modern prose. He not only inherited the model of China's traditional prose, but also pioneered the new concept and new field of China's prose. China's prose tends to be diversified and enriched, so we should pay attention to his prose and his contribution. "People belong to people, and literature belongs to literature". Only by separating Zhou Zuoren's mistakes from his articles can we better study his prose and promote the development of China's prose.
Second, analyze the artistic features of Zhou Zuoren's essays.
Some people say that Zhou Zuoren's prose is nothing unusual, but his quotations from classics, ancient and modern, Chinese and foreign, show his knowledge. Others say that Zhou Zuoren's prose is bitter and difficult to understand. Some people say that Zhou Zuoren is a traitor and his articles are reactionary literature ... With the history of literature and people's evaluation of Zhou Zuoren, I began to walk into Zhou Zuoren's world with confusion and curiosity. Walking in the literary atmosphere created by Zhou Zuoren, I was fascinated by the local customs in my works; Approaching Zhou Zuoren, I found a unique and beautiful artistic realm of prose.
It is driven by this reason and emotion that I began to explore the artistic style of Zhou Zuoren's essays. ...
Zhou Zuoren is one of the famous modern essayists in China. His prose creation occupies an important position in the history of modern prose development in China. This paper mainly studies the artistic characteristics of his prose: First, the literary style of turning decay into magic and iron into gold is the uniqueness of Zhou Zuoren's prose. His copywriting combines knowledge and interest, and uses Zhou's unique comment technique to achieve the artistic realm of the integration of literature and me, and the integration of things and me. Secondly, the peaceful and diluted artistic conception, the twists and turns of pen and ink, and the faint bitterness that permeates the article are all shown in his leisurely artistic style. Thirdly, Zhou Zuoren's artistic conception of introducing readers into his environment with a special style and the simple and charming emotional beauty of his hometown revealed in his works. In addition, Zhou Zuoren's prose language is plain and simple, but there is no lack of conciseness, and plain contains humor, which is also a major feature of his articles.
(1) the "literary" style of turning decay into magic and turning stone into gold.
Zhou Zuoren studied poetry books since childhood and was influenced by China traditional culture for a long time. In addition, during his study in Japan, he dabbled extensively in foreign cultures. He can absorb ancient and modern Chinese and foreign cultures and form a rich cultural education. The literary accomplishment formed by Zhou Zuoren's special reading experience makes him often copy and quote ancient books in large paragraphs in his articles, making "literary copying" a major feature of his articles. In a letter to Zhou Zuoren, Qian wrote: "Research-oriented works are boring, but my brother's style in recent years is quite lovely, that is, the so-called? Text copying? Yes. " Many people seem to find it difficult to accept Zhou Zuoren's literary style. They even think that Zhou Zuoren's article is divorced from reality, hiding in books and using book knowledge to help the article, and there is no self in the article. His copying is just to show his knowledge, giving people an inscrutable illusion and a feeling of "stopping at the top of the mountain". In the face of such criticism, Zhou Zuoren was very disapproving. For Zhou Zuoren, copying books is not much easier than writing.
First, the integration of knowledge and interest in the content of Wenchao. Zhou Zuoren really achieved "knowledge and interest control" in his writing practice. Incorporate knowledge and interest into text copying so that readers can understand something.
Some knowledge at the same time, get a happy life interest. Reading this kind of article, what we feel is not boring quotations, but interesting writing. In the article "The Fly", the author copied it as follows:
Don't hit him, the flies are rubbing his hands and feet.
-"Gui 'an" Kobayashi, Japan
Flies like to make friends with their front feet, which is like twisting flies ... and they also like to make friends with their back feet.
-"Ya Ya"
Like black cowpea, thick as black cowpea, sitting in the middle of the hall.
-Shaoxing children's riddle song
The original disgusting flies are vividly portrayed in the copy, full of humor. When readers appreciate his posture of "sitting with a beard", they also convey some attitudes of different people towards flies, which is full of rich life interest.
Secondly, the style of Wen embodies the artistic realm of "the unity of Wen and I, and the unity of things and I" ("Wen" refers to the content of the text and "I" is the author). No matter how many quotations Zhou Zuoren uses in his Style of Writing, he can skillfully use them and organically integrate them with this article. For Zhou Zuoren, copying books is not easier than writing books. Chinese and foreign ancient books are vast, and selecting materials from them is like searching for gold in the sand. Supported by this spirit of gold panning, Zhou Zuoren used his mind and vision to discover the ancients. These cited manuscripts were carefully selected and deleted by him, and Zhou Zuoren devoted his painstaking efforts and energy. Sometimes, Zhou Zuoren often breaks the boundary between time and space, connects the copying of ancient Chinese prose with real experience, and narrows the distance between history and reality, so as to achieve the goal of taking me as one in literature and taking me as the society in things. Zhou Zuoren activated the ancient prose with his unique discoveries and exquisite comments, and integrated the ancient prose with the modern prose.
Therefore, the "copywriting" in Zhou Zuoren's prose is not a simple quotation, but is activated by Zhou and becomes a part of his vivid life. Based on this, when we read Zhou Zuoren's "Style of Writing", we will always feel the artistic realm of "the unity of literature and me, the unity of things and me". This is the highest artistic realm shown by Zhou Zuoren's "style of writing".
(2) The twists and turns of pen and ink interest and faint bitterness flowing out of Peace and Dilution.
People often use "leisure" to summarize the artistic style of Zhou Zuoren's prose. Zhou Zuoren's prose draws on a wide range of materials, including eastern and western literature, modern ancient books, cosmic insects, even wild vegetables in his hometown, boats from Wu Peng, snacks from north and south, and tea from Beijing. The wide selection of materials enables Zhou Zuoren to write freely, whatever he wants, and whatever he wants, without any traces of affectation. From tea and food in Beijing to the south
Snacks in the north, from tea to drinking, from spring in Peiping to wild vegetables in hometown, as well as goldfish, weeds, foxes and ghosts ... There is no exaggeration of feelings and pen and ink in writing, which makes the brushwork natural and smooth, thus forming an artistic style of "peace and dilution". In Zhou Zuoren's works, he consciously diluted the words, of course, not dull, but diluted the feelings, consciously hidden them, and expressed them in plain words, without affectation or carving. This just shows his attitude towards literature: "I have been longing for a plain and natural situation in my composition recently."
"Peace and Dilution" is the main expression of Zhou Zuoren's leisurely artistic style. However, it is not comprehensive to attribute the leisure of Zhou Zuoren's prose to "peace and dilution". When we read his prose, we often have a feeling of twists and turns, which reflects another feature of Zhou Zuoren's leisurely style: the twists and turns of writing and the twists and turns of pen and ink interest. He did not deliberately choose what he described in his writing, but naturally described what he wrote and wrote wherever he thought. In seemingly casual, he let readers appreciate the graceful, swaying and colorful style of writing, and realized its difficult to express and dull eternal realm. It is this style of writing that formed Zhou Zuoren's prose, full of twists and turns. In Zhou Zuoren's leisurely prose, the kind of articles that advocate nature and simplicity often make us forget ourselves and blend in with the environment. And this kind of bitter prose can often make readers taste the real taste of life after being plain.
As mentioned above, the main features of his leisurely prose and the charm of his prose are the straightforward and simple meaning, the twists and turns of pen and ink interest and the bitterness in the text.
(3), the artistic beauty of the immersive and implicit emotional beauty.
China's ancient poems win by artistic conception. Poets are good at outlining beautiful artistic conception with highly concise language, attracting readers to linger in the artistic conception created by poetry. If prose creation also pays attention to the exploration of the beauty of artistic conception, it can not only add poetic color to the article, but also attract readers to enter the article and indulge in the beautiful artistic conception described, thus producing an immersive aesthetic feeling. Zhou Zuoren's prose creation just played the advantage of this artistic beauty. What suits the artistic conception is the faint emotion contained in Zhou Zuoren's prose-the feeling of hometown. You can always see the shadow of your hometown in Zhou Zuoren's prose. Zhou Zuoren once made a special study on folk customs, and the local customs of his hometown became an indelible, indelible and endless hometown complex in Zhou Zuoren's heart. In Zhou Zuoren's works, the local customs of his hometown are inexhaustible. However, the homesickness in Zhou Zuoren's prose is not directly expressed, but by creating an emotional atmosphere, in which simple and long homesickness is expressed. Therefore, when analyzing Zhou Zuoren's prose, we have to pay attention to his sincere, simple and unforgettable hometown feelings.
(4) Zhou Zuoren's prose language is refined, simple and plain, with a sense of humor.
Zhou Zuoren's prose pursues a plain and natural artistic realm. What suits his leisurely style (peace and dilution) is the simplicity and plainness of Zhou Zuoren's prose language, thus forming a conversational language style. This kind of conversation is not the teacher's style that makes people sit still and listen to the true words of saints with trepidation. Reading his prose, we feel: under the green forest tree, a cup of green tea, three or five people sitting around, an old man with white hair and beard is shaking a cattail leaf fan to explain to us ... This feeling is due to the simplicity and plainness of his prose language. For example, writing about the scenery of hometown, whether it's wild vegetables, awning boats, stone roads, stone bridges and hotels in hometown, is dull, just like vernacular Chinese. There is no deliberate rendering, no emotional waves, just showing the true colors of life. Even in some people's articles, Zhou Zuoren tried to avoid the strong exposure of feelings, so as not to make the article feel artificial. Zhou Zuoren's language comes from folk spoken language, but it is a pure language extracted from it. His language has no impurities. This is a luxurious, clean and vibrant place. Some people may say that plain and simple conversational language often leads to procrastination, verbosity and rambling, which makes the language lack of necessary refinement, especially in many articles of Zhou Zuoren. However, when we analyze Zhou Zuoren's language, we will find that Zhou Zuoren's simple language is not lacking in refinement and concentration.
We should also pay attention to Zhou Zuoren's sense of humor when evaluating his prose language. Zhou Zuoren's humor is not deliberately distorted, exaggerated and artificial, just like people express their feelings through their eyes or smiles. Zhou's humor is naturally revealed in plain narration. Its humor is calm and full of rational wisdom, just like a person telling a joke, everyone around him is laughing their heads off, but he has been very quiet. Like the "bitterness" in his articles, the humor in Zhou Zuoren's articles is also faint, which makes people feel that they have no enthusiasm for humor. But from it, you can feel a knowing smile, a faint and tasteful charm. Through Zhou Zuoren's humor, we can see more than humor. After laughing, it often causes some thinking or some enlightenment.
It is precisely because of the unique artistic brilliance of Zhou Zuoren's essays that he injected a fresh air into the literary world at that time, awakened the silent literary world of essays, attracted many writers' attention to the creation of essays, and set off a vigorous climax of essays. Today, if we want to study and reflect on the history and development of essay writing, and truly grasp the pulse of essay writing and development, we can't help but think of Zhou Zuoren, the pioneer of essay writing, and deeply study the artistic characteristics of Zhou Zuoren's essay writing.
Third, Zhou Zuoren's beautiful essays
Picking up the teacup on the coffee table, tasting the color of tea, staring at the green leaves rolling up and down in the clear water, emitting a ray of quiet tea fragrance, and my thoughts are swaying like this faint tea fragrance. Zhou Zuoren's prose is like tea, which breeds a long lasting charm in the plain, and the more refined it is, the more fragrant it feels.
The greatest feature of Zhou Zuoren's prose is to dilute simplicity. He said, "I feel very happy in a small room in Jiangcun, leaning against the glass window, baking a bowl of white charcoal fire, drinking green tea and chatting with friends." It can be seen that he is a free and easy person. Bitter Rain is a letter written by Zhou Zuoren to his good friend Fu Yuan. It includes the dream fairyland of "lying on the awning boat and listening to the rain", the pride of "a boat with a leaf" in "the storm" and the pride of "riding a mule car on the desert and under heavy rain". But all this is "just my fantasy, as unreliable as the poet's ideal." Everything in his hometown contains deep affection and infinite attachment, which is very elegant and exquisite. It is so quiet and wonderful to read Zhou Zuoren's description of Beijing quadrangles listening to the rain. It seems that you can hear the ringing drip jingle under the eaves, the gurgling sound of water flowing into the house, the joyful cry of frogs, the sound of children playing, and all kinds of voices blend together, giving people a kind of cordial and natural feeling. Zhou Zuoren described a dull and leisurely world. When I read Bitter Rain with my heart, my heart unconsciously entered the countryside. I think this is the charm of American writing, and the beauty of American writing lies in its form and content giving people a comfortable and harmonious feeling. Zhou Zuoren said frankly, "I just want to drink a cup of green tea and read some new books in my spare time. Whether he talks about insects and birds, or remembers Tessa's thoughts, ancient and modern carvings are enough to make me feel the joy of life. " Zhou Zuoren writes for himself, and what he expresses in his prose is his truest emotion: an attitude of loving life and pursuing life interest. I think this is also a factor of the beauty of Zhou Zuoren's prose. From his work Tea in Beijing, we can clearly understand his attitude towards life: "We must have some useless games and pleasures besides what is necessary for our daily life, so that life can be interesting. We watch the sunset, the autumn river, the flowers, the rain, the incense, the wine to quench our thirst, and the satisfied snacks, all of which are necessary in life-although they are useless decorations, the more exquisite the better. " This paper aims to guide people to take a fine and beautiful life as an art, life needs interest, and they should learn to appreciate the beauty of life, live freely and emotionally like Zhou Zuoren, and live out the quality of life. If you find a willow bud and a wild flower in a colorful city, you will be happy for a while. I think Zhou Zuoren's prose is a willow bud and a wild flower in a noisy city, which is quiet for a moment.
Zhou Zuoren's prose is full of knowledge. Reading his literary works can broaden your horizons unconsciously. His prose covers the whole world. It can really give people a wide range of world knowledge, real life, local conditions and customs, and so on. Prose is an art, not a simple accumulation of knowledge. Zhou Zuoren is not only proficient in writing beautiful articles, but also knowledgeable, so his essays are always an eye-opener. In his book Wupengchuan, Zhou Zuoren introduced in detail the types and structures of Wupengchuan in his hometown, drinking, drinking tea, reading books and listening to underwater sound at night. After reading it, I also learned that there are four Ming tiles and three Ming tiles on the Wupeng boat, and the knowledge of rowing with the feet is really beneficial.
Zhou Zuoren's prose is beautiful: beautiful scenery, beautiful feelings and rich knowledge. The more you taste Zhou Zuoren's prose, the more fragrant it becomes. They let the dust on the mind slowly disappear, and precipitated a peace and dullness in the tunnel of time.