In the writings of poets and writers, summer is not a favored season. Perhaps, the germination of flowers in spring can give people a sense of rebirth, and the peace of spring can release people's emotions; perhaps, the harvest of autumn can give people a sense of mature satisfaction, and the loneliness of autumn can also give people a kind of mature satisfaction. It can make people express their emotions vividly; therefore, those who chant spring and autumn, dance and write ink in ancient and modern times are almost like crucian carp crossing the river. And what about summer? Maybe it’s too hot, too strong, too dense, and a little too “too thick to be melted.” Therefore, it always gives people a sense of disharmony, overpowering, and overloading. If this is the case, how can we get the psychological approval of the poets and scribes who are governed by the "pleasure principle" just like ordinary people? How can we not be ignored by them! Even if someone writes about it, it will inevitably be written as "the vicious gray sand array" , "burning pedestrians' faces", "dry and hot wind", "screaming viciously", "people are like fish that are about to dry out", "the earth is shaking in the heat" (quoted from Mao Dun, Lao She, Gorky, Works by Romain Rolland) - a sense of summer as a symbol of depression and depression in the content of art; or, written as "everyday sleep with ruthless thoughts" (Yang Wanli), "tired hands throw away books and long dreams in the afternoon" (Cai Que) ——A feeling of summer that is relaxed and leisurely with a sense of helpless loss.
However, Comrade Liang Heng dared to do something new and venture into the new world, and said, "loudly praising this spring." This is the golden summer between autumn and autumn. "It should be noted that this kind of praise itself is worthy of our praise. And the pure and noble realm, rich and profound beauty he created in this work, and his graceful and graceful language are even more heartfelt. "Summer" is indeed a rare masterpiece in contemporary prose.
II
At the beginning of "Summer", the author writes: "The whole summer is filled with excitement. It is a tense, passionate and urgent melody. Just like a pot of cold water on the stove gradually bubbling, steaming and finally boiling, the thin grass on the hillside gradually grew into a dense thick hair, and the light green smoke on the forest belt also condensed into a long dark wall. wall. "Here, the metaphor of "a pot of cold water" is simple and a little naive, the personification of "dense thick hair" is fresh and vivid, and the word choice of "long dark wall" is clever and precise. The author seems to be doing a bird's-eye view. A few shots are like scanning, and the macro of the summer scene is outlined. The sentence "annoying cicadas, lurking among the leaves, chirping loudly" is like the "annoyance" in the above-mentioned set of shots. It shows the heat of summer, but there is no dull feeling; it conveys the bustle of summer, without any trace of chaos. The long and long chirping overflows from the trees, reflecting the bright color of the summer scenery, and highlighting a kind of "cicada". The atmosphere of "noisy forest more than quiet" also shows the fullness, weight and stability of the summer earth. Therefore, in the complementarity of sound and color, the blending of reality and reality, the author has set a high-spirited and positive theme for the full text.
Then, the author adjusts his perspective and moves the camera downwards, as if he is looking across the vast wilderness, watching the rolling wheat waves "beating the mountains in the distance, the clouds in the sky, and the cars on the highway. Like waves rolling over ships. "Here, what the author presents to us is no longer a simple restoration of the real world, but a kind of idealized scenery, which is the flash of external objects on the screen of the author's mind; in other words, it is the era that reflects the author's emotional beam. Projection. Then, a gust of floating hot wind "drifts across the field", seeming to blow the "smell of ripe wheat" to the author looking from a distance, and also to the readers. This touch is not only just right but also appropriate. The icing on the cake. Just as the contrast of the cicadas above is a blend of sound and color, the dyeing here is a harmony of color and fragrance. If the previous contrast is a kind of atmosphere, then here it is. The coloring is a kind of emotional revelation - indicating the richness and fullness of life. After laying the groundwork in such detail, the author calmly and leisurely leads his writing to the focus of the article's meaning - "the beautiful spirit of spring." After half a year of accumulation, it has now become a majestic momentum, rolling on the fields and rising between heaven and earth."
This is the author's own feeling of summer, this is what the author himself thinks From here, the author seems to naturally derive an exquisite discussion: "The color of spring is cold green, like blue waves, and tender bamboo, full of hope. The color of autumn is hot red, like the setting sun or red leaves, marking the ultimate of things. Summer is right between spring and autumn, so it naturally responds to this neutral yellow. "This discussion has unique sentence structure, unique language, and familiar parallelism. It shows a rare sense of rationality in the antique style, that is, a lyrical beauty that is generated by the combination of beautiful taste and deep meaning. This discussion , the focus on the previous meaning is generation, expansion, and deepening; in fact, it is also a philosophical abstract and penetrating interpretation of the nature of Xia that the author discovered, recognized, and wisely recognized. So, what does this quality mean? The author quickly made it clear. It turns out that the "majestic momentum" accumulated by "the spiritual breath of spring" is exactly a kind of "harvest". The surge of great power that exists but the hope has not yet been exhausted, a rhythm of "carrying on the past and linking up with the future, alternating life" from conception to prosperity, a flowing wave of creation that bears a huge mark on mankind. What the author enthusiastically praises is Such a poem of power, life and creation.
Three
The summer praised by Liang Heng is a summer in which wheat waves roll and the fragrance of wheat blows. It is a summer in which "gold dominates everything in the world". Where is this summer? Obviously, the author's focus is very clear. After that exquisite discussion, he wrote: "Look, the wheat has just been harvested, the cotton seedlings carrying seven or eight green leaves in the field, the sorghum and corn holding the trumpets in the sky, and the crawling corn on the ground. The melon vines are all bursting with vitality. At this time, they are no longer growing slowly in the gentle spring breeze, but are vigorously growing under the steam of summer, making the final sprint towards the end of autumn. "Here, the author. The angle of view seems to be gradually getting closer, and the camera lens also changes from grand to subtle. As a result, interesting close-ups jumped into our eyes one after another. In the word "pick", we almost feel the even and powerful breathing of cotton seedlings; in the word "lift", we almost feel the joy of sorghum and corn shaking their heads; in the word "creeping", we also feel the waist of melon vines. Shaking, snaking. They all seem to be clinging to this wonderful time to show off their skills, and "sprint" day and night towards self-perfection and sacred dedication. In a word, the superb description makes us feel the richness, magnanimity and elegance of people from these summer darlings. Flaubert once said: "No matter what thing is described, only a verb can make it vivid. We must constantly think hard and find the word, and we must not just use similar words and sentences to avoid difficulties. "This paragraph of Liang Heng's text is meticulously carved and graceful. The author's bleak intentions are clear. It is also a vivid practice of Flaubert's "One-Word Theory". This paragraph of text not only forms a strong support for the artistic conception of the whole text, but also enriches and strengthens the main image of Xia, which is based on gold.
Looking at everything the author describes, it may be difficult for us to think of the splendid Jiangnan with fragrant rice, or the vast vastness beyond the Great Wall with clouds of pasture. The first thing we think of is probably the majestic Yellow River Basin - the 800-mile Qinchuan River, the Sanjin Plateau and the endless alluvial plains that stretch across Hebei, Shandong and Henan. Yes, it is this dignified and thick loess that has nurtured our nation and moistened China's thousands of years of splendid civilization. The author himself has also been stationed here for many years as a reporter for the Central Newspaper. Therefore, he regards the summer of the Yellow Earth as a typical object of his indulgent praise. It not only has the meaning of familiarity with life, but also has a deeper symbolic and metaphysical meaning.
IV
Of course, the author of "Summer" did not just stop his lens on the landscape of summer, but let his perspective gradually penetrate from the surface into the flesh, and look at the scenery. The real master of our planet - man. Life is alternating in summer, and crops in summer make the final "sprint" towards the end of autumn. This vibrant operation certainly has the mechanism of nature's eternal order, but what cannot be ignored is that since humans have participated in it, most of it has changed. It has become the objectification of our will as the primates of all things, and a manifestation of human essential power. People are the real dyers of summer’s colors; it is also people who sound the intense melody of summer. "The farmers wielding sickles in the fields, bent over and sweating, just want to cut quickly, cut quickly; when the wheat comes on the field, they also want to beat it quickly, beat it quickly." "After the wheat is beaten, it's time to breathe a sigh of relief. I have to quickly topdress the autumn seedlings and water them.” The author seems to be careless in writing this paragraph, which is completely different from the meticulous carvings in the previous paragraph. On the surface, it even gives people a sense of clumsiness and shallowness. feel. In fact, the language form of line drawing fits the simple content. If a series of adjectives are piled on these ordinary workers, it may be a kind of beautiful artificiality. Therefore, the author's decision not to use lead here is actually reasonable and reasonable.
So, how to strengthen the artistic appeal of the work? What Liang Heng used is the details. "It's hard enough for them to wake up early and go to bed late. They wake up in the middle of the night and have to listen to the window paper, but the wind has picked up; look outside the window, but the sky is covered with clouds." These few details are in line with the above-mentioned quick cutting, quick beating, quick top dressing and watering. Water and the like have the same narrative characteristics, which constitute the overall calm and plain style of this paragraph. These details may seem a bit commonplace at first glance, but chewing them again and again makes people feel their unique charm. "Listen to the window paper" and "Look out the window" are profiles of Xia's tense melody, which are Xia's fast-paced chords, and are also psychological lenses introduced by the author using indirect expression techniques. It externalizes the heartbeat of "every nerve is tightened", allowing us to see in the imaginary space their eager eyes, the anxiety for a good harvest, and the people's emotions that resonate with the rhythm of summer. Emotional rhythm. In several details, it is extremely simple yet extremely expressive, bright and natural yet vivid. It is not an exaggeration to describe it as "seemingly ordinary and the most extraordinary". It can be said that if other details were replaced, the charm of the work would be greatly weakened.
Interestingly, the full text of Liang Heng's "Xia" is exactly 666 words. This is probably a rare short article today. However, Comrade Liang Heng built such an exquisite world with these few words. It reminds us of exquisite sculptures, small bonsais, a piece of plain silk, a piece of jasper, a clear stream, and a cluster of beautiful mountain flowers.
In the past, when evaluating the beauty of prose, there was a saying that it was a "treasure of life, a treasure of wisdom, and a treasure of beauty." And "Liu Liu", in our national custom, has a harmonious meaning to harmony, wishfulness, and auspiciousness. "Summer" is just such a masterpiece that embodies the Three Treasures and implies harmony, wishful thinking, auspiciousness and beauty.