Wonderful passages in Lao She's works

"Lu Guomao, Ba Laocao." Among them, "old" is Lao She.

Lao She (1899— 1966) is one of the most outstanding writers in the history of modern literature in China. She Yu, formerly known as Shu Qingchun, was born in a poor Manchu family in Beijing. When I was a child, my father was killed in a street fight in Eight-Nation Alliance. Since then, the whole family has relied on her mother to support a difficult life. He spent his childhood in poverty, and became familiar with the life of the lower class and all kinds of folk arts loved by Beijing citizens, which had a decisive influence on his later literary creation.

Lao She's works have won a high reputation with profound social and cultural connotations and distinctive national styles. In recognition of his outstanding contributions to literature and art, the Beijing Municipal People's Government awarded him the honorary title of 195 1 "People's Artist".

Lao She's language is very distinctive. Here, two representative novels, Four Generations under One roof and Camel Xiangzi, are briefly analyzed.

Four generations under one roof is the representative work of China's modern novels. It is Lao She's immortal work that actively describes War of Resistance against Japanese Aggression, exposes and accuses the brutal crimes of Japanese militarism, eulogizes and promotes the great patriotism of the people of China.

Based on the life of four generations living under one roof, supplemented by the ups and downs, life and death of all kinds of characters in Xiaoyangjuan Hutong, the work truly describes the abnormal state of affairs after the fall of Beiping, vividly describes the tragic experience, spiritual shock and resistance struggle of the broad masses of civilians under the rule of the Japanese aggressors, and depicts a series of vivid artistic images. The epic shows the great course and life picture of China people fighting fascism together with the people of the world during the Second World War, which is epic and graceful.

Camel Xiangzi was written on 1936. Based on the story of a rickshaw puller told by a friend, the author conceived it after full practical life experience and material preparation. The novel describes Xiangzi, a simple and self-reliant rickshaw driver from the countryside, who struggled to change his living conditions and eventually fell into ruin because of the failure of his dreams and efforts. He attacked the darkness and injustice of society and expressed deep sympathy for the fate of the poor. The author shows the broad life scene of the lower class in Beijing by realistic means, and shapes the literary image of Xiangzi, a lower class worker with profound social content. Its true and vivid description of the life of urban working people, the depth and breadth of the theme, far exceeds the previous works of the same theme. Its concise and refined painting techniques, delicate psychological depiction, pure Beijing dialect and strong local characteristics all add to its charm and thickness. Since its publication, it has been deeply loved by readers of different times and countries, and is recognized as a masterpiece of modern literature in China.

Now classify by description.

language description

Example 1

"Rui Xuan hasn't come back yet?" The old man asked.

"He has four or five classes today." She answered.

"Hum! If you fire, come back quickly! What about Ruifeng and his crazy mother? " The old man asked about his second grandson and his second grandson's daughter-in-law, the woman whose hair burned like a chicken nest.

"The two of them-"she didn't know how to answer.

"Young men and women are always mixed with honey and oil, and they can't live without it for a moment. I am really not afraid of jokes! "

Xiaoshun's mother smiled: "Young couples are like that sooner or later!"

"I can't stand it!" ; The old man said firmly. "It's all your mother-in-law spoiled him! I have never seen a young woman grow up in Beihai, Dongan Market and-what movie park? "

"I don't know!" She really can't say, because she almost never gets a chance to go to the movies.

……

"Old three just told me for a long time that if we don't resist Japan, we won't even be able to keep Peiping!" Xiao Shuner's mother speaks quickly, but she is also very clear. "At some point, I got red in the face with anger, rubbing my fists and grinding my hands! I told him bluntly, anyway, our people named Qi didn't offend the orientals, and they weren't allowed to bully us! I sincerely told him this and taught him to calm down; I didn't know he was staring at me until I drank it, as if I was colluding with the Japanese! I dare not speak any more. He angrily picked up the girl and went out! Look, who did I recruit? "

The old man paused for a moment, and then said with emotion, "I'm worried about Xiaosan, fearing that he will get into trouble sooner or later!" " "

At that moment, the yard small shunza coquetry shouted:

"Grandpa! Grandpa! You're back? Did you buy me peaches? What? No? None? Grandpa, you are really worthless! "

Xiao Shuner's mother replied in the room: "Shuner! Don't look at grandpa! If you talk nonsense again, I will hit you! "

-from the first section of the first part of Four Generations under One roof.

Example 2

...... "Please help!"

"Go ahead, Mr. Guan!"

"no!" Xiao He made a glad eye. "no! Promise me first! "

"I'll understand if you don't tell me. I can't nod!" Master Liu speaks very firmly.

"However, once you say it, it's a long story, and we have no place-"Xiao He looked around and felt that this place was really not the place to talk.

"It doesn't matter! We do things rudely, in a few words, simply straightforward, and don't adjust the place! " Master Liu's white teeth flashed and his face looked pale.

"Master Liu, you know," Mr. Guan looked around again and put his voice very low. "Isn't there a parade in Baoding?"

"ouch!" Master Liu suddenly smiled, which was ugly. "Are you asking me to play the lion?"

"Keep your voice down!" Mr. Guan is getting a little anxious. "How did you guess?"

"They have already asked me out!"

"who?"

"Anyone can!"

"ouch!"

"I told them that I can't play for the Japanese! My hometown is in Baoding, and my ancestral grave is in Baoding! I can't celebrate the fall of Baoding! "

-from the first section of Four Generations under One roof.

The above two paragraphs are all dialogues between four generations of a family. It is not difficult to see from the dialogue that there are many local languages in Beiping: crazy mom, husband and wife, honey mixed oil, young couples in the morning and evening, women growing up in Beihai one day, picking up girls and going out, who am I recruiting? I think this is Lao She's style, and it is this kind of people-friendly style that has earned him the title of "People's Artist". The language of the characters in his works always smells of Beijing dialect. If you read the language in Chengdu dialect and Beijing dialect respectively, there will be obvious differences-obvious Beijing dialect is enough to read, while Chengdu dialect is a little hot to read. It should also be noted that the most representative rhyme of Er Hua in Beijing dialect has also been fully reflected in Lao She's works, but the careful Lao She has not ignored this point-because he himself considers himself an out-and-out Beijinger.

Action description

Example 3

Her stomach ached, as if the pain of eight years' long war was concentrated on this point, so that she curled up into a ball and broke out in a cold sweat, and her old pants and old coat were soaked. She screamed, her lips turned purple and her eyes rolled up.

-from the fourth quarter of the third part of Four Generations under One roof.

Example 4

Two or three weeks later, his leg slipped out. He knows that his running style is beautiful. Running is a proof of a driver's ability and qualification. The one who curled up like a cattail leaf fan on the ground is undoubtedly a novice who just came from the countryside. Head is very low, feet rub on the ground, running at the same speed as walking, but it means running for those over 50 years old. For those who are experienced but have no strength, there is another way: the connotation and depth from chest to chest; Legs raised; Walk the probe; In this way, they appear to be running hard, but in fact they are not faster than others at all; They rely on "habits" to maintain their dignity. Xiangzi would certainly not accept these gestures. Its legs are long, its waist is stable, it doesn't make a loud noise when running, and it expands and contracts step by step, and the handlebar doesn't move, which makes the seat feel safe and comfortable. Say stop, no matter how fast you run, your big foot will stop when it touches the ground; His power seems to reach all parts of the car. His back was slightly bent and his hands were sent to hold the handlebar. He is active, neat and accurate; You can't see the rush, but you run very fast, very fast, and there is no danger. Even in rickshaw pullers, it is very expensive.

-From the first section of Camel Xiangzi

Relatively speaking, action description seems to be unable to clearly reflect Lao She's language style. In this case, 3 or 4, we mainly emphasize Lao She's skillful skills in action description and everyone's profound language skills.

In Example 3, exaggerated embellishment is mainly used, which strongly highlights the pain suffered by girls because of appendicitis, which should be the total outbreak of the pain of the eight-year war of resistance against Japan, so it seems that the pain of the long war in the past eight years has been concentrated on this point. Criticize the evil deeds of dog day.

Example 4 is the description of Xiangzi at the beginning, and compares the pulling movements of Xiangzi and other three drivers.

The first person "left foot", the second person "head is very low, feet rub the ground", and the third person "has a deep connotation in his chest; Legs raised; Walking with a probe, it is better for Xiangzi to "hunch his back and hold the handlebar with both hands". On the one hand, it shows Xiangzi's skillful rickshaw pulling skills, on the other hand, it is in sharp contrast with Xiangzi's tragedy at the end of the novel, exposing the darkness and injustice of society. Metaphor, exaggeration and parallelism are all used.

Appearance description

Example 5

Mrs. Guan is a big shot. She is almost fifty years old and loves to wear bright red clothes, so she is nicknamed Da Chibao. Eating Bao Er is a kind of melon. When it became popular, children in Beiping played with it. This nickname is quite appropriate, because the red bag is rubbed by children, and the skin is wrinkled, revealing the black seeds inside. Mrs Guan also has many wrinkles on her face and freckles on her nose. Although it is still pink and red, it can't hide the wrinkles and dark spots on her face. She is more imposing than her husband, and she acts like the empress dowager. She likes it and is more sociable than Mr. Guan; I can play sparrow cards one day and one night at a time, and I can still maintain my pride after I take the stage.

-from the second quarter of the first part of Four Generations under One roof.

Example 6

His figure and muscles have developed to the front of his age; He is in his twenties and very tall. Although his limbs have not been cast into a certain pattern by years, he has become an adult-an adult with a naive and naughty look on his face. Looking at the taller coachman, he figured out how to get into his waist, so as to show his iron fan-like chest and straight back; Look at your shoulders, how wide and dignified! Kill the waist, put on white trousers with fat legs, and tie chicken intestines on the trousers to reveal those big feet! Yes, he can undoubtedly be the best driver; He smiled at himself like a fool.

He has no appearance, what makes him lovely is the spirit on his face. The head is not very big, round eyes, fleshy nose, two short and thick eyebrows, and the head has been shaved. There is no excess meat on the cheeks, but the neck is almost as thick as the head; The face is always red, and there is a big scar between the cheekbone and the right ear. When I was a child, I slept under a tree and was bitten by a donkey. He pays little attention to his appearance. He loves his face as much as he loves his body. They are all so strong and hard. He can stand on his head for half a day. Standing like this, he feels like a tree, and there is no place up and down that is not quite detached.

-From the first section of Camel Xiangzi

The striking feature of Lao She's appearance description is the sketch of characters.

He won't use those flowery words to describe the characters in his novels (in fact, most of his novels are stories of hard times, so I think he can't write them even if he wants to dress up those tragic characters with those flowery words). In his novels, his descriptions of rich and powerful people are the same. For example, five kinds of big red envelopes only use "I love to wear red clothes" and "I have many wrinkles on my face and freckles on my nose". I don't need to beat around the bush, but I am straightforward and clear. Although I am impersonal, we readers clearly feel the ugliness of the big red envelope. And his description of Xiangzi can better reflect this point: "iron fan chest, straight back;" Twist a head to look at your shoulders, how wide and majestic they are ","those big feet that don't fit the size "and" the head is not very big, with round eyes and a fleshy nose. Eyebrows are short and thick, and the head has been shaved. There is no excess meat on the cheeks, but the neck is almost as thick as the head; The face is always red, and there is a big scar between the particularly bright cheekbones and the right ear. "Simple and natural-the characteristics of Lao She's sketching may also be related to the era in which he lived. At that time, wars and disputes, poor people, hard work and simplicity contributed to the simplicity of Lao She's language.

Lao She left more than 8 million words of works in his life, and made new achievements in various literary themes and styles. Most of his works take the life of citizens in the ancient capital as the theme, profoundly showing the difficult course of ancient China marching into modern civilization, shaping various characters of that era, and profoundly reflecting and dissecting the ancient traditional culture of China and the resulting national character. His works combine serious literature with popular literature, full of humor and satire, replacing anger with ridicule and expressing dissatisfaction with reality. A large number of colloquial expressions of Beijing folk customs are used, as if the old Beijingers are speaking Kan Kan dialect, which makes people feel lively and interesting, and forms a national style loved by the public in China, which is unique in the history of literature and well received in the international literary world.