-On the Linguistic Features of Wang Zengqi's Works

This paper takes Wang Zengqi's novels and essays as the research object, and discusses the language features of his works. The author thinks that the language characteristics of Wang Zengqi's works are: unique colloquial language. Absorb the nutrition of classical literature. Break through the boundaries of poetry, prose and novel. Emphasize atmosphere rendering and show healthy humanity. Formed its unique literary language. It played an important role in breaking the unique discourse taboo in the frozen period after the Cultural Revolution. This determines the undoubted stylistic significance of Wang Zengqi's works.

Keywords: Wang Zengqi, novel, prose, language

Many people like Rainbow Zengqi, and some even like him crazily. Wang Zengqi is like a breeze blowing in China literary world, which makes people shine at the moment. He inherited Shen Congwen's style of being a teacher, but he was good at simple painting and didn't get married. The language of his novels and essays is as clean, round and refreshing as white stone washed in water. This language charm obviously benefits from the perfect combination of daily spoken language, dialect, folk literature and classical literature. Wang Zengqi naturally integrated refined ancient language vocabulary into the text, drew sweet milk from daily spoken language, dialect and folk literature, and combined rigidity with softness, sweeping away the boundaries between poetry, prose and novel, creating a new style. It is true that luxury is beyond measure. Light and beautiful, small and exquisite, like Yan language, singing and singing, slippery but not greasy. It's fascinating to read. Wang Zengqi's neat writing style is light and tasteful, floating but not scattered, and has the beauty of fledgling hibiscus, which can be described as extremely vulgar and elegant.

Wang Zengqi's influence on China's literary world, especially on the younger generation of writers, is enormous. In the 1980s, when modernism prevailed, Wang Zengqi used his beautiful words and narratives to arouse the younger generation's feelings for their mother tongue, their love for their mother tongue again and their love for national culture. The 1980s was the era of popular translation style. In order to show their fashion and avant-garde, some writers imitate and copy the style of translated novels, and think that the translator's style is modernist style. We can now see this childish imitation from some works at that time. Wang Zengqi conquered people of different ages and cultures with his very Chinese style, and it was particularly "trendy", which made young people re-establish their confidence in Chinese. This paper attempts to analyze Wang Zengqi's works from the perspective of language.

First of all, a unique spoken language

Wang Anyi said: "Wang Zengqi's old novels are extremely easy to read. Always the most common words, form the most common sentences and say the most common words. " (1) Indeed. Wang Anyi added: "Wang Zengqi's storytelling language is also quite frank. He almost never generalizes, but describes the process in detail and seriously, and it is a very daily process. " (2) I think the linguistic features of Wang Zengqi's novels and essays are mainly manifested in the unique colloquial language. For example, "There is a crape myrtle in my backyard. This crape myrtle is old, and its trunk is as thick as a teacup and taller than the eaves. It blooms in the summer vacation, and it is really' purple'. Osmunda japonica is six petals, but the petals are all shriveled, and there are many irregular notches on the edge of the petals, so it is impossible to tell how many petals it is, just a broken ball, in which many flowers and stamens are shot. There are many flowers on a branch. There are countless branches on a tree. What a mess. It's a mess It's like a group of kindergarten children letting go of their tall and crisp little voices and screaming together. " ("Wei Zi") Wang Zengqi's vernacular gives people a sense of liberation-the original vernacular can be written like this! Another example is his prose "Tiger Shark, Ang Sniffing Fish, Aos Array, Snail Snake", in which there is a passage: "Suzhou people attach great importance to pond shad. Shanghainese are also very happy when it comes to pond loach. What kind of fish is pond snakehead? I have been longing for it for a long time. When I arrived in Suzhou, I wanted to try Tang Yan fish, but I couldn't. Later, I learned that Tang Yan fish is a tiger shark and I am blind! " A sound of "blindness" has infinite charm and lofty artistic conception.

Since the May 4th Movement, Wang Zengqi is certainly not the only one who has tried to integrate spoken English into writing. Lao She is also keen on this. But if you compare these two people, I think Wang Zengqi is better. This is because most of Lao She's oral factors constitute certain language features, and the overall framework of the novel is quite Europeanized. Wang Zengqi, on the other hand, tends to abide by the oral narrative rules of modern Chinese on the basis of the grand narrative framework. Wang Anyi said, "Wang Zengqi's novel is very naive, very old and stupid. He tells a story of leisure, starting from the beginning,' Once upon a time there was a mountain and there was a temple on it'. For example, "The National SouthWest Associated University has a literary wife" ("chicken feathers"); For example,' there is a river of a city in the north gate' (hometown miscellaneous notes); For example,' the first painter in the county, the first connoisseur in the county' ("the connoisseur") then slowly walked down the beginning, never flaunting a shot, making it confusing. He accomplished one thing responsibly, and now one thing leads to another. (3) I think Wang Anyi's description of Wang Zengqi's novels and the characteristics of the language are quite accurate. It's true to read Wang Zengqi's novels. Everything is dull, but after reading it, you can't calm down, and there will always be a faint excitement in your heart.

Authentic dialects are widely used in Wang Zengqi's novels and essays. The articles are catchy and friendly to read. Wang Zengqi is very familiar with Wu dialect and knows its vivid beauty. He used Shanghainese dialect appropriately in the novel Sunday and the essay Comfortable House. For example, Cao Na and Xieqijiao have both local colors and distinctive characters, which are deeply appreciated by Wu readers. In Shanghai, vendors selling sugar-fried hot ginkgo biloba shouted in the street: "A wants to eat sugar-fried hot ginkgo biloba, which is fragrant and waxy!" " The word "glutinous" in that sentence made Wang Zengqi "chew" a delicate, soft and elastic charm. When describing the language style of Tie Ning's novel Pregnant Women and Cows, he remembered the word "waxy" in Wu dialect. He was afraid that northern writers could not understand this sense of language, so he said, "When we go to Shanghai, I will buy you a handful of roasted ginkgo." Another example is "Good morning!" In "Three Friends in Cold Years". Good morning! Have you eaten? Too many, too many! "Very interesting. In fact, using dialects means using people's own language to get close to life. Languages like this can be found everywhere in Wang Zengqi's novels and essays.

Wang Zengqi loves and even infatuates with folk culture. From 65438 to 0950, he worked as an editor of On Rape Singing and Folk Literature in Beijing, which had a great influence on him. It is not only folk operas and ballads that fascinate him, but even a slogan on the wall of a police station in Beijing that advocates summer hygiene, "Leftovers must be returned to the pot!" ; "Advertisement" at the entrance of a midwife near Bamiyabad: "Get off lightly, get on quickly, lucky grandma"; Bamboo and rattan workers wrote: "sell new rattan chairs and repair the old brown tension." This also aroused his interest. He sincerely praised: "These are all very good languages, and you can really hang outside the country without adding a word or subtracting a word." (4) Wang Zengqi saw the great influence of folk literature on a writer from Zhao Shuli in those years when he was the editor of Talking about Rap. In other words, if a writer wants to achieve something, he must try to absorb sweet milk and poetry from folk literature. Influenced by Zhao Shuli and his works, Wang Zengqi, who has a strong interest in folk literature, realized more clearly: "A writer should read some folk literature-first of all, he should swim in it, draw the milk of sweet poems from the masses, gain aesthetic experience and receive national aesthetic education." (5) Many years later, when Wang Zengqi made remarkable achievements in short story creation, he always emphasized the influence of folk literature on himself when talking about his own creative experience.

When Wang Zengqi reappeared in the literary world in the 1980 s, some people exclaimed, "The original novel can also be written like this!" I think one of the amazing reasons is probably Wang Zengqi's unique colloquial language style!

Second, absorb the nutrition of classical literature.

In addition to seeking resources from daily spoken language, dialects and folk literature, Wang Zengqi also attached great importance to obtaining nutrition from classical literature. Wang Zengqi's language inherited the prose style of Tang and Song Dynasties. He loved Shi Shuo Xin Yu and notes of Song Dynasty, and inherited the prose tradition of Ming and Qing Dynasties. He repeatedly mentioned several essays by Gui Youguang, a writer of Ming Dynasty, such as A Brief Account of the Past, Records of the Ridge, Burial of Cold Flowers, etc. Because Gui Youguang "didn't write for writing's sake", he wrote as if he were talking about household words, without any connection between narrative language and characters' language, and Wang Zengqi's novel creation benefited a lot from it. "My deepest nutrition is the masterpiece of Gui Youguang, a great essayist in Ming Dynasty. Gui Youguang writes ordinary characters in a light style, which is kind and sad. This is similar to my temperament, and my current novel still echoes the aftertaste of Gui Youguang. " (6) With these "lingering rhymes", Wang Zengqi's language has established the internal relationship between modern Chinese and ancient classical Chinese. Why do those ordinary everyday spoken words have a special charm as soon as they are dissolved into Wang Zengqi's pen? The secret is inside. Take the opening paragraph of The Dowager as an example: "The old name of this place is a bit strange, called Anzhaozhuang. Zhao, because most Zhuang people are surnamed Zhao. It's called Zhuang, but people live in scattered places, two or three here and two or three there. As soon as you go out, you can see it from a distance, and there is still a long way to go, because there is no road, it is a winding ridge. Buddhist nun is because of buddhist nun. Buddhist nun is called Bodhi Temple, but it is called Lingjiao Temple. Even the monks in buddhist nun call it that. Where is the Treasure Hall? -"This is the vernacular, almost white without adjectives, but it reads like a long and short sentence, so white that it has a amorous feelings. If we read Gui Youguang's Record of Burying Cold Flowers, I think it is not difficult to find that the rhythm and rhythm of this vernacular in the Commandment have natural similarities with the Record of Burying Cold Flowers.

Obviously, Wang Zengqi's emphasis on "style of writing" in classical Chinese has been moved to vernacular Chinese without trace. On the other hand, it is obvious that the trace directly enters the classical Chinese vernacular, and he is not taboo, not only not taboo, but makes a splash. A passage from the article Eating Duck Eggs on Dragon Boat Festival: "Gaoyou salted eggs are characterized by fine quality and much sand. Protein is very soft, unlike other places where the hair is dry and pink, and the mouth is like chewing lime. There is more oil here than anywhere else. The way to eat duck eggs, as Yuan Zicai said, is to cut them with shells and treat them to dinner. Usually eat, generally break the' short' and dig it with chopsticks. When the chopsticks are dropped, the cheap red oil comes out. " Here, the elements of classical Chinese and vernacular Chinese are in perfect harmony, which is natural and not forced at all. Another example is the writing in "Looking at Farmers": "We have lived in the new school building of the General Assembly for four years, and the windows have no glass. The pane is pasted with mulberry paper and smeared with tung oil, which is bright and artistic. The teacher has a dormitory, a bed, a table and a chair. What else do you want? Very good. " It is also vernacular, but popular. This popular vernacular Chinese is different from the "old vernacular Chinese" after the May 4th Movement, and it does not have the flavor of the elderly and young people brought by half writing and half writing.

I remember a passage in the image of Luo Fu described in Shang Mo Sang: "When a walker sees Luo Fu, he must caress his moustache. As soon as the men saw Luo Fu, they took off their hats and put them on their heads. When the tiller sees Luo Fu, the hoe forgets the hoe. Come to complain, but sit and watch Luo Fu. " Set off the beauty of Luo Fu from the side, and read a passage describing "Qiao Yun" in "The Chronicle of the Big Fight". "She weaved a net between two branches outside the door and a mat on the flat ground near Nau. Some teenagers came and went pretending to have something to do. She goes shopping, whether it's meat, vegetables, oil, wine, tearing cloth, measuring rope, buying. This mystery has long been discovered by my aunts and grandmothers, who asked her to buy things. As soon as Qiao Yun went to the street, he carried several bamboo baskets, and his arms were sore when he came back. When Taishan Temple sang opera, people took their own benches and left. Once there, someone will always find her a good seat to watch. The play on the stage was very lively, but not many people applauded. Because many people are not watching the play, but watching her. " You will find that the two have the same effect!

In literary creation, Wang Zengqi is not the only writer who tries to make a blind date between literature and literature, but I think that only Wang Zengqi can "white" the vernacular in one style of writing, and then integrate the classical Chinese factors full of literati's elegance into it, so that the two can be so harmonious under strong tension, as if they were originally a family.

Third, the language that breaks through the boundaries of poetry, prose and novel.

Wang Zengqi's works break the boundaries between poetry, prose and novel, and eliminate the discourse taboo among various styles, which embodies the charm and elegance of oriental aesthetics with its strong imagery and poetic characteristics. "Sitting alone behind closed doors, the door is like a city, and the time is as long as a small year." (Once an old friend) "Here comes a boat full of melons, lust and lust. The ship is a stone, competing with the edges and corners. Maybe-a boat full of birds and a boat full of lilies. Apricot blossoms are sold in deep alleys. Camel. Camels are swaying in the willow smoke, ducks are calling, a red dragonfly. " ("Revenge") "Green duckweed, purple duckweed. Long-legged mosquito, water spider. Wild water chestnut has four small white flowers. Startled up with a piece of green velvet (a kind of waterfowl), rubbing the reed ear and flying to Lu. " This is not a novel, this is a poem, this is a poem, and this is fluid.

"There is a tofu shop in the street, and a donkey is grinding. Every afternoon, a child in the tofu shop always rolls around under grandma's elm tree with a donkey. The donkey is tired. Once you roll, roll again, but you can't turn it over. I rolled it four or five times. Hey, I flipped it. The donkey snorted and relaxed. Grandma used to save her strength for this donkey. When the donkey turned over, grandma felt relaxed for it. " Elm. Look at Snowball. Is it a novel? Do not scream.

"Bruce Lee every day after school, after Wang Yuying's house. He saw Wang Yuying. Dinner flowers are blooming vigorously. They are blooming vigorously, shouting wildly and opening themselves in the evening air. Thick green leaves, many green leaves; Crimson, rouge-like, a lot of red flowers; Very lively, but very sad, no sound. In front of dense green leaves and messy red flowers, there is a Wang Yuying. " (dinner flowers). A little boy saw a girl, and later the girl got married. "There is no original Wang Yuying in this world." Is this a novel? Do not scream.

As usual, the novel is based on stories, but after reading it, I only have people in my mind, and there are no stories. This kind of natural gossip does not look like the style of the novel on the surface, but it realizes the function of narrative discourse in the novel and has a fresh and natural aesthetic feeling. Wang Zengqi said in "Three Postscripts of Novels by the Bridge": "Such novels break the boundaries between novels and essays, and are almost essays. The structure is particularly casual, and you can write whatever you want. I did it on purpose (and at great pains). I want to make a decision on the concept of novel. The novel is about life, not making up stories. Novels should be sincere, and no tricks can be played. Of course, the novel should talk about skills, but: rhetoric is sincere. " (7)

"In January, it snowed heavily. -February is windy. -In March, the grapes went on sale. -April, water. May-1early February, grapes enter the cellar. -"("Grape Moon Order ") The essay" Grape Moon Order "is more like a dedicated labor hymn. What permeates between the lines is a kind of love for life and life.

Wang Zengqi's novels and essays are as simple and elegant as ink paintings, and more like hazy adult fairy tales, providing readers with a dreamlike aesthetic object.

Fourth, emphasize the atmosphere rendering, showing sound human nature and healthy beauty.

Take the Ring and Notes on Making a scene opened a new pattern of China's novels in 1980s. In this kind of works, Wang Zengqi does not pay attention to the character, but emphasizes the atmosphere, expressing the sound beauty of human nature and health with pure and elegant lofty beauty. Soft water, hazy moon, swaying clouds and charming sandbars are all sensing the subtle and mysterious heartbeat of the young monk, Xiaoying, Qiao Yun and Ming Hai's eleven sons. The chaotic love and blurred feelings show the leap of life and beautiful soul. Wang Zengqi wrote the natural lust of human beings so beautifully and immaculately.

For example, at the end of the two paragraphs of "Being ordained": "Eiko jumped into the middle cabin, and the two oars quickly rowed up and rowed into the reeds. Reed flowers only spit new ears. Purple-gray reeds are soft and smooth, like a string of silk threads. There are sticks in some places, which are red, like small candles. Duckweed long-legged mosquito, water spider. Wild water chestnut has four small white flowers. Startled up a piece of green pile (a kind of waterfowl), wiping the reed ear and flying to Lu Lu badminton Lufei-"Minghai and Eiko rowed their boats into the ideal holy land, and also sailed into the ideal realm of Wang Zengqi's emotions. In the blue waves, beautiful scenery breeds healthy humanity. Write a hazy love, blurred feelings, and write a unique purity, romance, innocence, picturesque and intoxicating. Surging spirituality, poetic interest and spotless feelings make people read Andersen's fairy tales, become a beautiful and brilliant hymn of mankind and touch thousands of heartstrings. The Chronicle of Noisy is about the love between eleven sons and Qiao Yun, which is as beautiful as the autumn moon, as tough as Puwei and as transparent as crystal.

Wang Zengqi's novels are not only good at writing landscapes, but also writing folk customs from time to time. There is such a passage in "Three Friends in the Cold Year": "The weather is particularly good this day. There are no clouds in Wan Li, and the moon is in the sky. In the middle of Yin Cheng, a shelf more than forty feet high was put up. Some people eat dinner early, so they wait on the bench. There are all kinds of snacks. Buy beef sorghum wine, sell marinated dried tofu, sell spiced peanuts, sesame seeds filled with fragrant sugar, sell bean curd, sell boiled water chestnuts, and sell seafood-purple water chestnuts and freshly peeled chicken's head rice-white heat, full of fragrant anise flavor. People visit relatives and friends, gossip, come and go, and kiss each other. The grass in Yin Cheng was trampled down, and people's feet were wet with the thick juice of autumn grass. Suddenly, thousands of pairs of eyes looked in the same direction. People's eyes narrowed for a while; People's mouths open for a while, and then close again; Shouts, laughter and applause. -Tao Huchen lit the fireworks. " Wang Zengqi's description of folk customs, known as genre painting, is often unconscious when writing. On the surface, it describes customs, but in essence, it relies on customs to render the atmosphere and express characters from the side. In the joyful atmosphere when people watch fireworks, Tao Huchen feels happy, and others feel his kind character while being cheerful.

The creation of this unique atmosphere and charm depends largely on the language of the work. Reading Wang Zengqi's novels is like walking in Yuan Ye in spring and being in a vast water vapor, which is refreshing. In the novels set in his hometown, Wang Zengqi painted genre paintings with strong local characteristics, which are fascinating. It provides us with primitive living fossils of pastoral scenery and vivid and flowing spiritual entities of folk customs.

Whether the beauty of language is gorgeous or simple, simple or simple, the key to its charm lies in whether it can deeply touch a person's heart. Just like a woman, it is easy to become extremely attractive when she looks amazing, but it is not absolute. Ordinary and refreshing eyes, she can also catch other people's eyes and hearts, because her charm is not in the same place, but in her gestures and smiles. This charm is actually more intimate, more likable and more lasting than the former. Wang Zengqi's works belong to the latter type. Wang Zengqi's works, whether novels or essays, are simple and common sentences. In his works, it is even difficult to find an uncommon word and phrase, but these ordinary sentences, once combined, seem to have life and aura, which makes people feel amiable and respectable. Just like a unkempt village girl, after her modification, she is still the same person, and her clothes are still the same, but she has a charm, a charm and a beauty. It is true that not everyone can reach this state. There is a saying in Buddhism: Monks can only speak ordinary words. In other words, a truly enlightened monk will not always give you lectures, nor will he always recite two verses that no one can understand to prove his profundity and uniqueness. He only talks about Buddhism in the most common and popular language, but this usually does not mean shallowness, but has great wisdom that ordinary people can't reach. In Wang Zengqi's article, there is no moralist face, no pretentious shouting, and no pretentious celebrity custom. He is calm and peaceful. His eloquence is very good, and his comments are very careful, perhaps because of this feature, so his articles make people feel relaxed and happy to read, which is a real artistic enjoyment.

Precautions:

(1)(3) Wang Anyi: Stories and Storytelling, Zhejiang Literature and Art Publishing House 199 1 Edition, p. 184.

(2) Wang Anyi: Stories and Storytelling, Zhejiang Literature and Art Publishing House 199 1 Edition, p. 1 186.

(4) Lu Jianhua: Biography of Wang Zengqi, Jiangsu Literature and Art Publishing House, 1 July 19971Edition, p. 246.

⑤ Lu Jianhua: Biography of Wang Zengqi, Jiangsu Literature and Art Publishing House, 1 July 19971edition, 12 1 page.

(6) Wang Zengqi: "The Complete Works of Chop Writers" Publishing House, 1992, p. 358.

(7) Wang Zengqi: "Three Postscripts of the Novel by the Bridge", edited by Lu Jianhua, Jiangsu Literature and Art Publishing House, first edition 1993, p. 559.

References:

1. Lu Jianhua's biography of Wang Zengqi, Jiangsu Literature and Art Publishing House, 1st edition 1993.

2. The novel volume of Wang Zengqi's Collected Works, edited by Lu Jianhua, Jiangsu Literature and Art Publishing House, first edition 1993.

3. Collected Works of Wang Zengqi, edited by Xu, Baihua Literature and Art Publishing House, 1996, No.65438+February.

4. Wang Zengqi's Collection of Essays on Contemporary Celebrities in China, Shaanxi People's Publishing House,199365438+February first edition.