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A brief answer to Han Shaogong’s “root of literature” has multiple meanings.

(1) Searching for the roots of urban culture:

There are many writers who have explored urban culture. For example, Liu Xinwu described the ordinary but colorful urban sentiments of contemporary Beijing in "The Bell and Drum Towers" Feng Jicai reproduced Chinese men's discrimination and toying with women in "Three Inch Golden Lotus". Among this type of writers, Deng Youmei and Lu Wenfu are outstanding, and can be called the "two great writers from the north and the south".

Deng Youmei became famous in 1956 with the short story "On the Cliff". After entering the new era, he first published several works with military themes, and then focused his creative attention on urban life in Beijing, writing a series of "Beijing flavor" novels, among which the representative works "Na Wu" and "Smoke Pot" were respectively He won the second and third novella awards, and other works include "In Search of "Huaer Han"", "Two Cats Picture", "Anecdotes of "Dwelling in the Four Seas"", "The Descendants of Suo Qi", etc. These market novels with a strong folk flavor mostly set the background of the story in the bygone era, depicting various characters ranging from nobles and nobles to children of the Eight Banners to the bottom of society. They have a unique aesthetic charm.

"Na Wu" is based on the commercial society of old Beijing in the 1930s and 1940s. It depicts the embarrassment of Na Wu, a descendant of the former Qing Dynasty who "does not fall down when he falls down". modality. "Smoke Bottle" shows the rebirth of the Eight Banners disciples from another perspective, describing how the fallen nobleman Wu Shibao learned the unique skill of painting the inside of snuff bottles and embarked on the road of self-reliance. Deng Youmei's works use authentic Jingbai dialect and carefully depict various traditional customs and etiquette. Even from the perspective of folklore, his creations are rare.

Lu Wenfu was born and raised in the streets of Jiangnan. His novels are mostly based on the trivial matters of ordinary people in the alleys of Suzhou, such as food, daily life, weddings and funerals. The language is humorous and gentle, and the overall atmosphere reflects the long history. The underlying rhyme of Wuyue culture. His masterpiece, the novella "The Gourmet" portrays the image of Zhu Zhizhi, a housing capitalist who is addicted to food, and describes his peculiar story of focusing on food and drink for more than 40 years before and after liberation and becoming a well-known gourmet in society after the Cultural Revolution. experience. The narrator Gao Xiaoting in the work is a revolutionary and builder of New China. His experience is a microcosm of my country's political and economic life, especially his "hotel revolution", which reflects the serious mistakes of economic work in the left-leaning era. But the most attractive aspect of the work is obviously not the commentary on the superstructure, but the unique artistic charm of the food world shown in it and the rich folk customs of Jiangnan behind it.

In the works of Deng Youmei and Lu Wenfu, the description of local customs has become a major feature. For example, in "Na Wu", Na Wu wants to learn to sing, which leads to the following narrative:

"There are rich and poor people in this box office, and there are high and low fans. First-class fans must have If you have leisure, you must also have power. If you have leisure, you can work hard and start practicing blanket skills; if you have money, you can hire a husband, worship famous teachers, and buy clothes; if you have power, you can organize people to support you, publish stills in newspapers and tabloids, and write articles. Those in the second class can be famous if they have money and leisure, so they can rent a stage and invite themselves to perform. The singers in the second class can pay to have famous actors such as Jiang Miaoxiang and Yan Juming sing beside them. Even if you have no power, you still need to have a good voice, work hard, develop some real skills, and get everyone to nod, so that you can make a living. "

This is an introduction to the rules in the industry. Of course the reader has no way of understanding it, but it becomes interesting to read it. For another example, "Gourmet" writes about the protagonist Zhu Ziye's particularity in choosing a teahouse: "There are teahouses everywhere in Suzhou, so why does Zhu Ziye go to Changmen Stone Road alone? He is very particular. There are "teahouses" on the big teahouse. There are several rooms separated from ordinary tea guests, with mahogany tables and large rattan chairs, forming a small world of their own. The water there is water from the sky, and the tea is bought directly from Dongting Dongshan; earthen pots are used to boil the water, and pine branches are used as fuel. , the tea should be soaked in a purple clay pot produced in Yixing. "

There are actually many things to pay attention to, such as many rules - when something begins to form a certain order, its Order itself often has meaning, and this is where the so-called "culture" appears.

Zhu Ziye's "poor and fastidious" attitude, which the "I" in the novel hated deeply, was actually recognized by society many years later and became a valuable "historical culture" representing the city of Suzhou - perhaps this is what the novel wants to express. : "Culture" has been formed and cannot be denied. It has become an "aesthetic object" and has strong vitality.

The novels of Deng Youmei and Lu Wenfu are both good at using refined colloquial language to express the local customs they are familiar with. As Deng Youmei said, he "longs for a genre of novels, such as works of art." Like "Along the River During the Qingming Festival", it has aesthetic and cognitive effects, and also provides some reference materials for folklorists. "Although the works of these two writers may not have a powerful effect in reconstructing China's national culture, they are eloquently told. When telling the stories of the characters, it does show a cultural tradition that is rarely known nowadays. It not only makes readers feel a certain aesthetic pleasure, but also conveys a mellow folk charm.

(2) Root-seeking of rural culture:

Compared with the previous type of "root-seeking literature", there are more works that tend to express the rough and even humble state of the countryside. The field is also wider. For example, Wang Zengqi's "Da Nao Chronicles" expresses the traditional life in the "Peach Blossom Land"; Zhang Chengzhi expresses the life of the people in the Mongolian grasslands in "The Black Horse"; Lu Yao's description of the intersection of urban and rural areas; and Mo Yan's account of the secret life history of his ancestors in Northeast Gaomi Township. Others include Jia Pingwa's "Shangzhou Series" novels that express Qin and Han culture, Li Hangyu's Gechuanjiang novel series that expresses Wuyue culture, Zheng Wanlong's "Strange Stories from a Foreign Land" series that expresses the life of ethnic minorities in Daxinganling, and Tashi Dawa's novels with religious mystery. Novels about plateau Tibetan culture and mentality, etc.

Among them, "The Black Horse" is an excellent work. This novella uses deep and beautiful language and strong emotional color to praise the broad mind and tenacious vitality of prairie women and express their feelings. Deep love for "mother" and "land". In addition, Lu Yao's "The Ordinary World" has also been welcomed by readers because it shows the vast urban and rural areas and social reality, and vividly depicts the tenacious life course of young people.

Among many works, Han Shaogong's novella "Daddy" is regarded by many as a typical representative of "root-seeking literature" works. This novel describes the ignorant and mysterious living conditions of a remote and unknown mountain village called "Jitou Village" and its residents who claim to be descendants of Xingtian. The novel takes a demented boy "Bing Zai" as the central character and describes the strange customs and origins of Jitou Village, the isolation of the people of Jitou Village from the normal world, their "injustice" with Jiwei Village and the abandonment of the elderly and children after the defeat. The process of clan migration.

In the work, "Jitou Village" has many weird customs. For example, when they get lost, they have to urinate quickly and curse at their mothers to drive away the so-called "cross-road ghosts"; their residents will suffer from a disease called The symptoms of the strange disease of "birth-provoking bugs" are "eating fish belly to live as fish, eating chicken belly to live as chicken". The treatment is actually to drink white cow blood and then learn three rooster crows; the language on the mountain is also different from other places, for example Say "shuo" as "hua", call "father" as "uncle", and call "sister" as "brother". However, there is no doubt that Jitou Village is a self-sufficient "small society". It has its own myths and legends, its own written history, its own customs and habits, rules of doing things, and even its own set of language patterns - That is, it has developed its own set of "cultures". Jitou Village is undoubtedly a strange place, but it seems that it really may exist somewhere.

The central character in the novel, Bingzai, also has many strange things. He is more than ten years old, but he can only say two words: "Dad" and "×". Children of the same age as him have grown into mature men one by one, but he is still "only as tall as a backpack and still wearing crotchless red flower pants." His mother always said that he was only "thirteen years old" for several years, but his appearance He is obviously older, and there are faint wrinkles on his forehead." "He has dull eyes, sluggish movements, and a deformed head that is really big, like an upright green gourd. He thinks of himself as his head, which contains some weird stuff. ... When he sees anyone, regardless of gender, old or young, he calls out 'Dad' affectionately." '.

If you glare at him, he will understand. He will look at a certain position on your head, roll his eyes slowly, grunt "X", and run away. It was very laborious for him to roll his eyelids. It seemed that he had to fully prepare his chest, abdomen and neck before he could roll his eyes. It is also very laborious to turn around. On the soft neck, the head is dangling like a pepper mill. It has to follow a large arc to successfully turn the head steadily..." Legend has it that Bing Zai was born because of him. His mother killed a spider spirit. He was bullied arbitrarily by the children in Jitou Village, and it seemed that he had no joy in being a human being. However, at the end of the novel, all the old, weak, sick and disabled in Jitou Village committed suicide by drinking double the amount of poison. Bingzai miraculously survived.

In the work, the young man Renbao obviously has the shadow of "Ah Q", and even when describing him, the language of the work begins to have Lu Xun. However, the more symbolic character in the work is the idiot Bingzai who can only speak two words. In his sensory world, the outside world is summarized into two simple and abstract poles: " "Good" and "bad", "happiness" and "hate". Bingzai's existence seems worthless, "living is not as good as death". However, it is exactly that he is always alive, always wearing crotchless pants and a snot hanging from his nose. With abscesses, a huge and empty head hanging down, and wrinkles on his forehead - this image of a little old man who is always stuck at "thirteen years old" symbolizes a situation that human beings often encounter. This state of existence is incapable of grasping the world, unable to express itself, weak, helpless and confused. His immortality symbolizes the eternal weakness and insignificance of human beings.

The creation of one's own self in a closed state. Culture, and this "culture" ultimately hinders the development of "civilization". This is true for Jitou Village, and it seems to be the same for "China" for many years, and how could it not be true for the entire human society on the earth in the 1980s? In the middle period, there were many symbolic works like "Dad", such as Han Shaogong's "Going Back" and "Girls and Girls", Wang Zengqi's "Da Nao Chronicles", etc. Most of these works described areas far away from modern civilization. , is in a closed and stagnant state, so it has better preserved the original cultural form, reflecting the ancient history and lifestyle of our nation and even mankind, and thus has a certain historical thickness and cultural symbolic significance. Among the root-seeking writers, young people. The writer Acheng should be said to have the most unique personality and superb artistic skills. His masterpieces "Three Kings", "The King of Chess", "The King of Trees" and "The King of Children" have aroused great interest among sinologists around the world. Enthusiastic attention. The expression of Taoist realm and Confucian character in his works is still controversial and discussed today.

Among the above-mentioned "cultural root-seeking" literary works, there is one difference compared with the earlier period. The big change is in the representation of "people". The characters in these works are no longer gods or heroes that transcend everything, nor are they even the focus of the works that the authors strive to express. They are just the representation of many life forms. Concrete manifestations. Behind them, there is a huge invisible hand, which controls all life, including the typical ones. Revealing the individual is actually revealing the whole, and the joys and sorrows of the individual belong to the whole. In the novels of representative writers of the Root-Seeking School such as Acheng and Han Shaogong, the mutual constraints, conflicts, and adaptations of life and culture have been fully expressed. These lives are no longer simply embodiments of human nature, but are engraved with deep cultural imprints. On the other hand, the characters written by root-seeking writers are symbols of life attached to culture.