Urgent! Wait online! Sister Liu Yi appreciates it

1923, Bing Xin, a teenager who was baptized by the May 4th Movement, crossed the ocean and studied hard. As far away as "the overseas sea, the mountains over there", she excavated many sincere words from her nostalgia for her homeland and evolved many pictures with different colors. "Sister June 1st" is one of such pictures that pay attention to freehand brushwork and lyricism.

My childhood friend, Sister Liu Yi, the daughter of a wet nurse in Yantai seaside, is called Sister Liu Yi because her brother is called Liu Yi. Her name "Linger" has been forgotten by the world, and even she feels unaccustomed and "shy" after listening to this name. The author wrote about the life changes of Sister Liuyi in three stages. When I was six years old, I met my sister Liu Yi, who was three years older than me. When I met her, she had "naturally rosy cheeks, double eyelids and big eyes, and people always laughed when they saw her", "She was still full of feet and wore a blue dress with lace", and "I" gave her candied haws. Later, I played with her on the beach and played long jump on the porch, just like a pair of lively and lovely little urchins. At this stage, Sister Liuyi is naive and clever. She will make a "dry cigarette bag" with bamboo sticks and cook stones as "eggs" with a small gong. I heard "I" say that coal turned from a pile of overstocked trees, so I cut some thorns with "I" and buried them in the sand by the sea to see if it turned into coal all day. After playing at the seaside, she was afraid of getting dirty, and was told by her mother that she always "stepped on the stone for a while" carefully. At this time, the author "loves" his sister Liu Yi.

In the second stage, when Sister Liu Yi was eleven years old, when I saw her again, she was wearing a pair of pointed high heels with green cloth and red flowers. The servants praised her, but I was surprised. Imagine how painful it would be for a 1 1 year-old girl to wrap her feet, but Sister Liu Yi was calm and collected. "There is nothing she can do about the pain. Don't make people laugh without binding their feet." In order not to make people laugh, Sister Liu Yi paid the price. At this time, Sister Liuyi is an obedient and well-behaved child in the eyes of the world. The bad habits and backward customs of the old society, with the example of adults, infiltrated her soul imperceptibly. She suffered greatly but didn't care, thinking that she would be a good child if she acted according to the public opinion at that time. The author described the sadness in plain and gentle language. Since then, Sister Liu Yi can't play with me often, because she can't run. She either starches Liu Yi or ties her own shoes. At that time, I was literate and could read the whole book, and my interest was gradually different from that of Sister Liuyi. Seeing her is "not as anxious as before" and "just a dull pain". Sister Liuyi followed the rules, from an innocent and lively little girl to a little girl who can hold her own territory and share housework for adults. Her growth model met the requirements of the social environment at that time, but the author implied regret and melancholy between the lines.

In the third stage, when I met again, I was eleven and my sister Liu was fourteen. At this time, June 1st sister "wearing a new blue shirt and red trousers, sitting cross-legged at one end of a long slat, is talking back to many other girls". "It seems that the face is a little longer and whiter, and it looks more gentle and beautiful." When others talked about "my feet" and "my dim clothes", Sister Liu Yi only said "Is it worth changing clothes" and "No drama", which relieved my anxiety. Although Sister Liu Yi has never read a book, she is very sensible and acts as the protector of "me"! The author wrote "I" with gratitude, and at the same time "secretly marveled": "Sister Liuyi is actually a big girl". Sister June 1st has really grown into a big girl. Her personality is developing logically, and she has become a mature woman who conforms to social fashion and can maintain herself. She is gentle, kind and considerate, occupying a corner of my memory.

"Sister June 1" written by Bing Xin in Castle Peak Sanatorium 1924 seems to be handy and natural, with no chisel marks. This short story entrusts a young woman who is far away in a foreign country with nostalgia and indescribable homesickness. If Bing Xin endows the characters in her works with bright colors, what she painted on the background of the characters' lives is gray: gloomy, gloomy, a corner of the mountain, the whistling sea breeze, the violently shaking dark gray waves and the gloomy southwest mountain shadow. This gray judgment is the evaluation left by Bing Xin after emotional filtering, which represents the depressed environment in China at that time. We can't help but say that Bing Xin is an outstanding patriotic youth created by the May 4th Movement. Her grief over the destruction of the motherland and her true love for ordinary people are clearly presented to readers through the contrast of these two colors.

Most readers who love Bing Xin are first "captured" by the true feelings revealed in her works. This true feeling is not a flashy embellishment, but a nerve center that permeates the cells of the work and runs through the blood of the work. Bing Xin fully mobilized this nerve center in her early work Sister June 1st. It can be seen that she is not writing for the sake of writing, but writing when her thoughts fluctuate, driven by homesickness and affection. A word "truth" constitutes the core of the artistic charm of this novel, from which the touching artistic power of the novel is formed.

Because of the truth, the author describes her childhood friends in the first person, which not only accurately conveys the voice and smile of Sister Liu Yi, but also describes the changes of the situation in a perceptual, cordial and natural way. Bing Xin lived in the vast Yantai for seven or eight years when she was a child. Sister Liu Yi's prototype is her acquaintance in this life. She is a little girl who regained her luster and left traces in her lonely childhood. The author writes in the first person and writes about real people with real places as the background, so that people can hear what they say and see what they do, which is true and credible. In the background of real life, Sister Liu Yi's innocence, liveliness, precocity, obedience and understanding are vividly highlighted, which not only reminds the author of her childhood, but also arouses the sympathy of readers, as if she had met Sister Liu Yi.

Because of the truth, the author uses a pen to describe the characters naturally, without carving. The author described the development and changes of her personality at the age of nine, eleven and fourteen in plain spoken language, which is objective and reasonable. Sister Liuyi is not a new woman, nor a man of the hour, but an ordinary woman created in old China. The author is not divorced from the times, but truthfully exposes the imprint of the times on her body and mind. Bing Xin seems to have written an ordinary 6 1 girl in ordinary language, but she touched ordinary readers, which really depends on the power of "truth". Bing Xin not only endowed Sister Liu Yi with rich connotations and made this image full of flesh and blood, but also the vernacular language she used to describe the characters was fresh and fluent, which undoubtedly contributed to the reform momentum of China's literary world after the May 4th Movement.

Lev tolstoy believes that the depth of artistic infection depends on three conditions: first, how unique the feelings conveyed are; Second, how clearly the feelings are conveyed; Third, how sincere the artist is. According to Thun, the most important of these three conditions is "the artist's sincerity" (see On Art). Bing Xin is such a sincere writer. She "planted ordinary flowers for ordinary little people to see" (preface to the Complete Works of Bing Xin). She clearly expressed her sincere feelings in her own way. Her heart is like an ocean full of true feelings, writing about people and things she is familiar with immersed in this ocean. Today in the 1990s, Sister Liuyi once again gave us an inspiration: life is the foundation of creation. First of all, we must live seriously and feel deeply, so as to stay away from false castles in the air and avoid the creative tendency divorced from reality, so that the written works can have permanent vitality beyond time and space.