On the Humorous Styles of Lu Xun, Qian Zhongshu and Zhao Shuli

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Lu Xun is not only a great writer, thinker and revolutionary, but also an outstanding master of modern language. His language is accurate, concise and extremely rich, so he is flexible enough to properly express the rhythm of various thoughts and emotions, which makes his writing full of charm and charm.

This paper mainly investigates the language style of Lu Xun's works from the aspects of the use of function words, classical Chinese sentence patterns and vocabulary. Use a lot of function words

Function words are helpful to express profound and tortuous meanings, which can simplify the complex and have unique charm.

Example 1. I saw her crying just now because she cares about the future of her alma mater. It seems that she hasn't seen each other since. (sequel to "Gai Hua Ji Memorial Liu Hezhen Jun")

As for the word "as for", it works without it. However, the word "in a daze" can't express the dynamic of "in a daze" ... finally crying ",and this dynamic just reproduces Liu Hezhen's emotional process, which is really touching.

"We haven't met since" is a common natural expression. However, Mr. Lu Xun is here to mourn Liu Hezhen and reminisce about the past, and even the function words "seems" and "just" are used so seriously! The word "seems" conveys the message that Mr. Liu Hezhen didn't leave a deep impression on him. Maybe he didn't see him, maybe he did, but he didn't pay attention to him, especially Liu Hezhen. If you don't use function words to express the same meaning, not only will you use too many words, but your writing will also be "thin", and of course you can't lock this affection.

Second, the syntax of classical Chinese and the use of archaic words

When the vernacular movement just started, it faced a huge language desolation. Later generations may think that things were just written down in words at that time, but it was extremely difficult to actually operate. As evidenced by Lu Xun's words at that time: "If writers, philosophers, political commentators and all ordinary people want to express the existing new relations, new phenomena, new things and new ideas in China society, almost everyone has to be Cang Xie. That is.

Mr. Zou Tian pointed out that the language of the May 4th novel and the traditional language are two completely different novel languages. The significance of the May 4th novel lies not in the fact that the vernacular is easy to be understood and accepted by readers, but in the fact that the traditional vernacular novels can also do it and do it better. It is to create a language that adapts to new content, reflects new aesthetic requirements and has different artistic functions and artistic expressions. Its appearance is a new literary language. It marks the beginning of the modernization of novel language. In addition, the May 4th novel also achieved a change, that is, written language replaced oral language. Influenced by storytelling, traditional novels are highly colloquial and easy to tell and understand. However, the language of the May 4th novel has its own content, which must be more refined, more subtle, more complex in structure and richer in levels. It requires readers to sit on the table and think carefully and appreciate it again and again.

The application of triple negation and the rhythm of Lu Xun's language

Lu Xun likes to say "no". Even when expressing "yes", he prefers to use double negation rather than an affirmation. The use of double negation effectively sets off the author's lonely mood, especially when he tells his own story.

Qian Zhongshu is a unique satirical novelist in the modern literary world. He profoundly exposed the dark side of society and human beings. His wand-like pen, sharp, witty and playful, lashed out at social, life, psychological and moral pathologies.

Qian Zhongshu likes to look at all kinds of bad qualities of human nature with the eyes of a wise man, and makes good use of the most basic expressions of modernist literature, such as symbols. He often uses incisive words to bring out sharp meaning, profound meaning, concise writing and hit the nail on the head. This special writing style is particularly evident in his works "Man, Beast, Ghost" and "Besieged City".

His writing is wanton and humorous, full of wisdom and philosophy, as well as ridicule and ridicule of the secular. He ranks among the masters of modern prose with only ten essays, but the few short stories are different in style, profound in meaning and breathtaking.

Qian Zhongshu's Humor

Zhang Chao, a poet in A Qing, said in Dream Shadow: "Only talent can be combined with fun." If we want to recommend China intellectuals who meet this standard, I think Mr. Qian Zhongshu is the most suitable representative. Unlike many Old Master Q who read a lot of poems, he is really a very interesting, humorous and "funny" person.

Most people learn this from the wonderful metaphor of Fortress Besieged. In fact, even his two profound academic works, Guanzui Bian and Qin Yi Lu, are full of humor, which can make people who know each other laugh from time to time.

Qian Zhongshu is good at using serious academic arguments to intersperse some jokes and stories to relax your brain and nerves. In Pipe Cone, he quoted the story of "the Monkey King's lewdness", "There is a toilet in the sky", "Eunuch praises chastity, camel praises honour", "Du Futong's Latin", "A pair of illegitimate children cheated on each other after giving birth" and "The old man didn't intend to give birth to me at first, but only wanted happiness". Zhuangzi's drum basin is actually because. The story of "Dancing Unconsciously" is a story that is finally liberated from henpecked, an amazing saying that the protagonist is willing to be the toilet that his sweetheart has sat on, a quip that "the food is harmonious, and the gas can't escape", a joke that the old woman urinates in the sea and talks to herself "no small supplement", and a donkey in the garden complains "You are so bored!" Look, I'm just talking, okay I am meditating. "These little humors are everywhere, which shows that Qian Zhongshu's study life is not boring at all.

The popularity of Zhao Shuli's works and the writers of "Yam Yao Dan" is due to the popularity, popularization and nationalization of his works. Zhao Shuli has always wanted to make his works "understandable to illiterate rural women spinning cotton on the kang". In today's view, this writing style and attitude may make some writers very disapproving or even scoff. However, with the passage of time, with the "strong return" of the realistic tradition of contemporary literature, and with a large number of contemporary writers going deep into the "folk writing" at the bottom of society, those "aristocratic writing" dwelling in the "ivory tower" are actually "the screen window is setting, and no one can see tears in the golden house".

In the development of contemporary literature, this should be a literary phenomenon worthy of all writers' attention and consideration.

Zhao Shuli's concern for farmers, countryside and reality, especially his deep feelings for farmers, is not something that all contemporary writers can do. He adapts to the characteristics of Zhao Shuli's novels, actively publicizes the cognitive and educational functions of literature, and gives full play to its function of "intervening in life". Speak wholeheartedly for farmers and write for them. Zhao Shuli called on writers to walk out of the ivory tower without hesitation and become the trend leader in the life of the times, rather than an indifferent bystander far away from the world. It has nothing to do with the flavor of the times, and the "personalized writing" of the extreme self is isolated from Zhao Shuli's novel mode; As far as artistic form is concerned, Zhao Shuli's novel mode has "Chinese style and China style that China people love", and he always thinks that China's literature should be suitable for China people's aesthetic habits, interesting and accepted by most China people. The artistic form that is too "foreign" and only appreciated by a few "intellectual aristocrats" is also out of reach with Zhao Shuli's novel mode. In short, the "involvement in life" in content, the local flavor in art, coming from the masses, going to the masses, and willingly writing for ordinary readers and readers at the bottom constitute the warp and weft network and the main tone of Zhao Shuli's novel model.