Lao She was a writer with a strong "Beijing flavor". He was born in Beijing, grew up in Beijing, from his birth in 1899 to his birth in 1966, Lao She spent forty-two years of his life in Beijing. His most influential works, such as the novels "Camel Xiangzi" and "The Four Families of the Same House", and the plays "The Teahouse" and "Longshougou", etc., are all written in Beijing dialect, and they are also based on Beijing, and they show a colorful picture of the Beijing society through the vivid and vivid portrayal of Beijing's way of life, social and cultural culture, and psychological characteristics.

"Thinking of Beiping" is a prose piece, in a short prose work, how to express Beijing, Lao She found it very difficult: "Beiping is such a big place, and there are so many things to do", what to write? He did not want to write only "based on what I know, and avoid what I do not know", and more afraid of hanging a million, buried the benefits of Beijing. If it is just a mechanical list, plain narrative, written as a guide to the local scenery of Beijing is even more flavorless. Lao She decided to write "my Beiping", through his relationship with his hometown as close as mother and son, write out his infinite attachment to Beijing.

At the beginning of the work, Lao She could not help but say: "I really love Beiping." But he immediately said, "I love Beiping. But he immediately said, "This love is almost to say but can not say. This "can not say" three words, repeated four times in two paragraphs, repeated emphasis, the author explains because he "is not a poet", will not "all the good sound and good-looking words are immersed in their own hearts, like cuckoo-like In fact, it is not that the author can't do it, but he doesn't want to write in the usual way, because even if he exhausts "all the nice words", it is difficult to express his love for Beijing. So he took a different approach, put aside all the beautiful words, with the most common and simple words, with the most attractive **** Ming way of expression, his love for Beijing as a metaphor for the love of his mother. Poker like the usual most strange, which not only properly said the author of the Beijing love is true and deep, but also very easy to move the reader's heart. Lao She especially loves his own mother, is a good story in the literary world, he will be Beijing metaphor for his own mother, the weight of which, to exceed the common people a few points, therefore, he expressed love for Beijing, also has its own unique personality. He said, "The Beiping I love is not a branch or a section of something, but a piece of history and a large piece of place that is bonded with my heart", "My first knowledge and impression come from Beiping, which is in my blood, and there are many parts of my character and temper that are given by this ancient city", and "Beijing's" "is in my blood, and there are many places that are given by this ancient city". There is much in my character and temperament that this ancient city has given me", and "there is a me in every little event in Beijing, and there is a Peking in every thought of mine". What he shows is that "I" and Beijing, "I" and you, "you" and "me", "you" and "me", "you" and "me". I" and Beijing, "I" and "you", "you" and "I", "you" and "you", are one and inseparable. This is beyond the general objective description, he not only want to tell the reader what Beijing is like, but also want people to share his love for Beijing, he is not "writing" Beijing, but in the "thinking" Beijing.

But this does not mean that Lao She's love for Beijing is blind. There is rationality and cognition in this love. Writing about the characteristics of a place, including a person's love of a place, is often evident only through comparison. In the article, Lao She claimed that he "can't love Shanghai and Tianjin", and related to his own rich personal experience and feelings, comparing Beijing with "London, Paris, Rome and Constantinople, which were once called the four major 'historical capitals' of Europe". Comparing Beijing with "London, Paris, Rome and Constantinople, once known as the four 'historic capitals' of Europe", the author counts the benefits of Beijing in terms of the city's overall structure, architectural pattern, environmental atmosphere, and lifestyle. The beauty of Beijing is "not in the beautiful buildings, but in the fact that the buildings are surrounded by free space, which makes them beautiful", and "naturalness is revealed in the artificiality"; Beijing "also has lively places, but it is similar to Taijiquan. Beijing "also has lively places, but it is similar to taijiquan, there is stillness in movement"; Beijing "is a capital city, but there are many flowers, vegetables and fruits produced by itself, which makes people closer to nature". In short, Beijing is a metropolis, but it has preserved the quietness of the countryside and kept people close to nature. In addition, the author specifically said that although Beijing is also a paradise for the rich, "a poor" intellectual like you and me can still enjoy its beauty to the fullest. Therefore, the author spends a lot of ink to write about the products of Beijing and the daily life of Beijing commoners. It is this kind of narration and description that shows the author's intimate relationship with Beijing, and that he really melted into its life and penetrated into its flesh and blood. If Lao She was a tourist in Beijing, even if he liked Beijing more, he could not have such a meticulous experience, and of course, he could not have written such words. No wonder he could not help but "shed tears" when describing the benefits of Beijing, and could not help but call out with deep emotion: "I really miss Beiping!"

This last sentence has a deeper meaning. This essay was written in 1936, and the author was not in Beijing at that time. At that time, Japanese imperialism had stepped up its aggression against China, the signing of the humiliating "He Mei Agreement" and the establishment of the "Jicha Political Affairs Committee" to meet the needs of Japan's aggression, all of which indicated that North China was in danger, and Beijing was in danger. As a patriotic intellectual who loves Beijing, the author is anxious, thinking of home, more intense than usual, this call, full of national anxiety, shocked the heartstrings.

The language of Wanting to Beiping is colloquial, pure, yet concise and friendly. The colloquialism is to strengthen the life flavor of the work, make it affectionate and touching, and is also the result of refining the language. The author once said, "My article is written in such a white and vulgar way, as if it is effortless, in fact, that is not sure how many times it has been changed." ("on the language of literature") pure, concise, the same also * a thousand hammers. For example, the article wrote about Jishuitan: "Facing the Jishuitan, with the city wall behind me, sitting on the rock and watching the tadpoles in the water or the tender dragonflies on the reed leaves, I can sit happily for a day, completely at ease in my heart, with nothing to ask for and nothing to fear, like a little child sleeping peacefully in its cradle." A few short sentences, not a lot of words, but the writing of scenery, objects, create an atmosphere, the expression of the emotion of something, are all pens in place, as heavenly

The foreigner on the earth -- Cao Wenxuan "Ahead" Appreciation

"Ahead" is a photographic essay. The essay begins with a generalized description of the character's look, "A carload of people, looking ahead with haggard and indifferent looks." If we follow this sentence and look at the picture first, you will definitely feel that the characters in the picture have different demeanor, some are confused, some are terrified, and some are full of expectations for the future. Some of them may have been forced to leave their homes to make a living, while others are fighting for their ideals. Regardless of which one they belong to, the worn-out carriages on the screen are enough to set out the poverty of life, and one can imagine the value of their efforts to change the status quo in poverty, as well as the reader's sympathy for the sadness of not realizing their ideals. Mr. Cao Wenxuan, on the other hand, with a wise eye, saw a trajectory in the photo with the same philosophy of human existence***: "Leaving home - thinking of home - returning home - - leaving home again". -and then leave home again". We can't help but ask: why is it that people in a foreign land are always haunted by their hometown? What does the hometown mean to a traveler? What do their expressions really say?

The author begins his article by asking a continuous question to arouse thoughts of life: "Where are they going? Returning home or traveling far away?" The answer is "they are on their way". Here is the true meaning of survival. Each of us is actually on the road from the time we croak. It is a short but long road of life, and although some people are happy to meet good times, "the earth is not always full of warmth after all, and your path is not always paved with roses." (Ji Xianlin, "The First Love on Earth") The vast majority of people are not exempt from the bumps and bruises of adversity, so they have to struggle to find their way along the road. As depicted in the article, people on the road are full of trepidation, bewilderment, uneasiness, helplessness, restlessness, and tasteless mental state. "The car roared, bumping over the potholes, shaking the carload of people to the ground and making them suffer skin-deep all the way. The man, chin in hand, looked out the window of the car, his eyes showing all the trepidation and bewilderment of a man about to begin a difficult journey." This is the expression of the rider of the car that the author describes with details. Through the description of this expression, it confirms what the second subsection of the article says, "People have an uncontrollable desire to leave their homes". The idea is that the work is not only a reflection of the past, but also a novelty that may come from thinking backwards.

The article describes and analyzes the human behavior of leaving home. "Man has an irrepressible desire to leave home," and to summarize, the author says that there are four kinds of leaving home: "Man has the habit of leaving home and traveling far away"; "The outside world is always tempting people to "to leave home and travel far away"; "leaving home may be out of necessity"; and "human ideals determine people to keep moving forward". Therefore, the author illustrates such themes of nostalgia in the text around the human behavior of leaving home at the same time: first of all, people have the habit of leaving home and traveling far away. For example, "before mankind had a sense of home and a form of home, our ancestors lived in almost endless migration". This reminds us of the nostalgia of Odysseus, the general, who resisted the goddess on his way to triumph in Homer's Odyssey; and the nostalgia of the common soldier who left his hometown to go on a military expedition in China's ancient Poetry Classic, Caiwei. There are also the words "raising one's head to look at the bright moon, lowering one's head to think of one's hometown" (Li Bai), "the west wind of the ancient road is a thin horse, and those who have broken their intestines are at the end of the world" (Ma Zhiyuan), and so on, for those who have drifted around, especially the words "being alone in a foreign land is a foreigner's hometown, and one is twice as anxious about one's relatives at every festive season. I know the place where my brother climbed to the heights, and there are fewer dogwoods to plant."

(September 9, Memories of Shandong Brothers) Poet Wang Wei's poem should be a precursor to the expression of nostalgia by travelers in a foreign land. And so on. As for the "people away from home is cheap, things away from home is expensive," the old adage has long become a traveler's life experience of homesickness. Secondly, the outside world is always tempting people, people in the outside world back to get the satisfaction of life; for various reasons, people have to leave home. Then there is the fact that one's ideals determine one to keep moving forward. The author visualizes and interprets the presentation of homesickness and local sentiment, i.e., why homesickness (my heart returns), traveling and looking back (always on the road); finally, he reveals the value of hometown, i.e., through "my hometown", "the evidence of this life and this world", he explains that homesickness is a constant and permanent value. It shows that homesickness is a constant imprint. Hometown is the root of a person, more spiritual, emotional values and spiritual pursuit.

It is not difficult to find that the author contemplates the tragic existence of life from the philosophical level and raises a new question: "One cannot return home" and "even if one returns home" "one is still in the feeling of being homeless ". As the author asks at the end of the text, "Is home or the boundless wilderness ahead for this people sitting in the car?" These are the transformation of the actual "home" into an abstract "spiritual home". Thus, the reason why "one cannot return home" is visualized and explained. I remember Keran's "The Road" said: "What people are looking for is not the road, but the end of the road, the broad, flat end. It is only in order to lead to the end that one looks for the road, that one travels from the hardest and most difficult road ......"

The most prominent pioneer of expressionist poetry in German-speaking poetry in the twentieth century, Trakl, famously said, "The soul, the stranger on the earth. " Man roams the world in pursuit of dreams he cannot know with certainty, all perhaps simply because life is an accident, and the ideal is always on the other side, and therefore in any corner of the world is in a foreign land. Those who are looking for a home will eventually die in a foreign land until they embark on the eternal and rugged road back. As Zhou Guoping, a great writer of prose, said, "To summarize, 'remembering the way home' means: remembering the way from society back to the self, and remembering the way from the world back to God. Of course one cannot always live in society and the world, but by remembering the way home at all times, one can stay awake and not sink in the strife of society and the clamor of the world." (Remembering the Way Home-Small Preface) Yes, "Do not be happy with what you see, do not be sad with what you feel" (Fan Zhongyan), and "Heaven walks with health, and a gentleman should be self-improving" (I Ching - Qian Gua). Home, despite the "warmth and tranquility", but people always have to face the "front", out of the house. Well, there is a pair of good words, "Wander to watch the clouds roll in the sky, smile at the flowers blossom and fall in front of the garden". "The road is long, I will go up and down to seek" (Li Sao) should be the reason for mankind to "move forward".

All in all, the author of this article by leaving home, talking about the reasons for leaving home, and then talk about the performance on the road, from the initial excitement to the "long ago realized that life is essentially a bitter journey" and the fear, confusion, anxiety, and from the "figurative travel".

"Abstracted to the journey of life", talking about "the tragic essence of life", layer by layer, step by step, rising to the level of philosophical thinking. For a picture, we tend to catch the expression of the characters in the picture to do the article, but Mr. Cao Wenxuan seized them "away from home" this point to write, analyze the reasons and after leaving home on the road after the psychological performance and its causes, beyond the imagination of the general public, from the conventional thinking to jump out, and have a new interpretation. "Home" is the home of the human spirit and the shelter of the spirit. The whole text not only inherits the aesthetic connotation of light sorrow of classical literature, but also has the philosophical thinking of innovative thinking of contemporary life. The language is beautiful and the main idea is profound. To the reader to leave room for reminiscence.

The Winter Scenery of Jiangnan

Appreciation: Liu Haisu, a master of Chinese painting, once said, "Young painters can't paint the landscapes of Zhejiang and Anhui if they don't read Yu Dafu's travelogues; if they don't look at Qiantang, Fuyang, and Xin'an, they can't read Yu Dafu's marvelous writings." This is a high evaluation of Yu Dafu's landscape prose. The winter scenery of Jiangnan, a relatively obvious embodiment of Yu Dafu's prose aesthetic characteristics: writing like running clouds and water, natural, free pen, free roll, open-minded, sincere and frank, lyrical strong.

From September 1921 to March 1933, Yu Dafu devoted considerable energy to left-wing cultural activities and creative writing. Due to the threat of the Kuomintang's White Terror and other reasons, Yu Dafu moved from Shanghai to Hangzhou from April 1933, where he lived for nearly three years. This article, written in 1935, is a famous piece of prose written by Yu Dafu after he moved south to Hangzhou.

This article***writes about the picture of the exposed back talking about the sky, the picture of the vegetation in the winter countryside, the picture of the drizzle in the cold village, the picture of the snow in the south of the Yangtze River, and the picture of the winter walk. From different angles, the author portrays the winter scenery of Jiangnan at different times, on different occasions and in different weather, the warmth of the afternoon, the earth that contains vitality, the mist in the rain, the interest in the fog, etc., which shows the author's love for the winter scenery of Jiangnan.

The winter scenery of Jiangnan: warm, sunny and beautiful. Comparison of the winter in the north and the south of the Yangtze River highlights the warmth and mildness of the winter in the south of the Yangtze River, and renders the fun of talking about the sky outside the house with exposure that the winter in the north cannot provide; comparison of the winter and the fall in the south of the Yangtze River, the author compares the winter scenery of the south of the Yangtze River with the summer scenery in the north, and writes about the "bright mood"; comparison of the winter in the south of the Yangtze River in Fujian and Guangdong Province and the winter in the south of the Yangtze River, the author compares his feeling of the winter in the south of the Yangtze River to the winter in the south of the South. The comparison between the winter in Fujian and Guangdong and the winter in Jiangnan, in which the author defines the "winter scenery of Jiangnan" more clearly, and the comparison between the cold countryside walks in Germany and Jiangnan, which echoes the walks mentioned in the latter part of the essay. The comparisons have different focuses, but all of them highlight the main features of the winter scenery in Jiangnan that the author loves.

Outside the house, the sun is shining and the birds are chirping. So warm and mild weather is like in the play, more outside the house in the open space of the old children, perhaps grandchildren, are playing happy, perhaps the distant frost has not all melted away, but a happy atmosphere has permeated the picture. It's a lovely warm and sunny winter day.

Winter Vegetation: This is a bright picture full of life. In the rich and moist winter countryside of Jiangnan, there are white rushes, red leaves, sapium trees with white sapium seeds, and small grasses with ochre color on top and a bit of green in the middle. The author has dyed the painting with vibrant colors, making the whole picture bright and alive. The colors are used in the text to color the painting.

The picture of a cold village in light rain: the use of (light brush strokes in writing) is a combination of the real and the imaginary, and the side is emphasized. Small bridges and flowing rivers, a lonely village, fine rain, fine trees, the canopy thatched cottage drinkers (long bridge, canopy boat, fine rain, light halo). The colors are simple and light, the mood is hazy and distant, and there is a painting in the poem. --Leisurely, free, gain and loss.

Phasing the real with the imaginary is one of the main ways to create a mood. In this picture, "after the fall harvest" is the time, "the small village by the river where three or five families gather" is the place, "the door to the long bridge and the window to the distant foo"". The "grove of mixed trees with hewed branches" and so on constitute the winter rural scene, which is the actual scene. In this scene, the author "sprinkled with a layer of fine with powder also like white rain ...... moon halo" these virtual scene, so that the real winter rural scene has a "rain cold village" mood.

Jiangnan snow map: this painting, the author did not go from the front to portray, but cleverly quoted the previous poem to show the mood of the winter landscape of Jiangnan. The author cleverly used the former verses to make up for the prose did not say all the rest of the meaning, so that the article tumbles: sometimes people immersed in the classical poetry in the mood, and sometimes bring people into the beautiful painting mirror, to achieve the effect of fewer than many. Wine around the stove, the moon reflecting the plum blossoms, the fragrance of wine, the barking of dogs at the wood door, pedestrians casting off, red plums in the snow, village children making snow. The colors are suitable for each other. --Light and elegant, beautiful and serene.

Lao She's "Winter in Jinan" describes the snowy landscape in this paragraph:

The best thing is to have a little snow. Look, the pines on the mountain are getting more and more green and black, and the tips of the trees are topped with a bun of white flowers, like some little Japanese nursemaids. The tip of the mountain is all white, to the blue sky set a silver edge. Some places on the slopes of the snow thick point, some places grass color is still exposed, so, a white, a dark yellow, to the mountains to wear a watery pattern with a flower coat; look at, this flower coat seems to be the wind blowing, so you hope to see a little more beautiful mountain skin. By the time the sun sets, the yellowish sunlight slanting on the mountainside, the snow seems to be suddenly shy, slightly revealing a little pink. It's just a little bit of snow, Jinan can't take a lot of snow, and those little mountains are too pretty.

At the same time write the snow scene, and "Jinan's winter" compared to the "winter scene in Jiangnan" in the writing style of what is different? Look at the paragraph about the snow scene.

Winter in Jinan is more of a direct description. While "Winter Scene in Jiangnan" is quoting poems and avoiding the truth to write about the snow scene in Jiangnan.

No scene is written, but the beautiful poem leaves us a rich imagination. At sunset when you see an old friend is "can drink a glass of nothing", deeper and quieter, perhaps the snow has stopped, the moonlight shadow of the plum blossom printed in the snowy road, from time to time in the distance will also come to the fragrance of wine, and occasionally there will be a few barking dogs, and then in the morning, the snowy dog and the children are excitedly playing, and suddenly there is a child surprised to come running: "In the deep snow of the former village, a branch opened last night." A good picture of plum blossoms in the snow! This picture has color, sound and taste! Although not directly write the scene, but the meaning of all out.

Quoting poems, avoiding the actual writing method is Yu Dafu prose commonly used penmanship, he often inserted some old poems in the prose, in order to make up for the prose did not say all the rest of the meaning of the sentiment not expressed, so that the article appears to be the whole line on the tumble, but also increased the article's poetry and picturesque.

I grew up in Jiangnan, it is reasonable that should not like the rain; but the spring borer, flower branches withered time, get a few light rain, and what a lovely thing! "Small building one night listening to spring rain", "apricot blossom spring rain Jiangnan", "Tianjie fine rain moist as crispy", the former poet, long before I said. Summer rain, can kill the summer, can moisten the harvest, its value of the big, more can not be said. The autumn rain of the faint cold, but also another situation, the former so-called "rain to the late fall wind sad people" a long sigh, is not the embrace of the person's excuse, people from the sad ear, what has to do with the rain. Three winters of cold rain, I'm afraid not many people love. But "the sound of geese coming from the river, the lights of the palace leaks to listen to the sinking" of the wonderful, if not to experience the situation will not understand. (Yu Dafu "rain")

The article also quoted in other paragraphs of the poem. (Twilight rain dashing river village) "river village", that is, the poet's night stay in the mouth of the village of Anhui Jinglan sand; "know that", that is, "heard the name of the poem". The wind high fire, the moon dark kill, this seems to be "meet the thief" typical environment; here but inadvertently coloring out in the dashing rain under the shroud of a quiet river village. The ambience is poetic, and the characters are not hideous, which can be seen from calling the other side "Greenwood heroes". It seems that the poet is with the security of the poetic feeling to chant this interesting encounter. "The night knows that heard", not only reveals to his own poem heard in the green forest of self-pleasure, but also implies the love of elegance, respect for the poet's "Greenwood heroes" of the appreciation.

Dry winter walking map:

Zhu Ziqing "spring" but we are all familiar with a famous landscape prose, beautiful writing to give us a deep and impressive, neat structure has become a model for all of us to learn to write prose, indeed, Zhu Ziqing's landscape prose is particularly concerned about the structure of the creation of the structure, he is the use of the structure to step-by-step to promote the development of emotions, while Yu Dafu's article written in advance! Walked, here again in the writing, which is a reflection of Yu Dafu's prose is different: the pen turns at will, he let the structure of the mood with the go, with the intention to go, the article here, we have unconsciously entered the Yu Dafu to create the kind of beautiful atmosphere to go, he took us to the south of Jiangnan for a walk on the emotions. The author wrote this, but also put aside the pen, to the lake to go for a walk. The writing of the scene reaches "a state of forgetfulness of emotion and self". "Feeling that it is always necessary to seep passion into it, one cannot reach a state of forgetfulness and oblivion."

Yu Dafu's article is not confined to the shape, but heavy writing, writing spirit, writing his subjective feelings about nature. In fact, in the article is also visible at times.

Example: the 8th stanza does not describe the scenery in detail, but seizes the deepest impression of the natural scenery to write the charm of the scenery. The first thing that I want to do is to make sure that I have a good idea of what I'm talking about and what I'm talking about," he said.

Yu Dafu once said, "The greatest characteristic of modern prose is the individuality expressed in each piece of prose by each writer, which is stronger than any prose in the past." He also consciously dissolved his own personality in his own works.