Where does Wang Zengqi's prose reflect the prose of Ming and Qing Dynasties and the prose of May 4th Movement?

-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. In my opinion, the language characteristics of Wang Zengqi's works are: unique colloquial language, absorbing the nutrition of classical literature, breaking through the boundaries of poetry, prose and novel, emphasizing atmosphere rendering, showing healthy humanity, forming its unique literary language, and making contributions to breaking the unique discourse taboo in the frozen period after the Cultural Revolution.

Keywords: Wang Zengqi, novel, prose, language

Many people like Rainbow Zengqi, and some even like him crazily. Wang Zengqi is like a breeze blowing from China's literary world, which makes people shine at the moment. He inherited Shen Congwen's style of being a teacher by example, but he was good at sketching, so he became another family. His novels and essays are as clean, round and refreshing as white stones washed in water. This language charm obviously benefits from daily spoken language and dialect. The perfect combination of folk literature and classical literature. Wang Zengqi naturally integrated refined ancient language vocabulary into the text, drawing sweet milk from daily spoken language, dialect and folk literature. He is eclectic, eclectic, sweeping away the boundaries between poetry, prose and novel, and creating a new style. Luxurious and pure, elegant, small and exquisite, just like a Yan language.

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 trendy and avant-garde, they imitate and copy the style of translated novels, thinking that the translator's style is modernist style. Now we can see this childish imitation from some works at that time. Wang Zengqi conquered people of different ages and cultures with a very Chinese style, especially "trendy", which helped young people rebuild 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 can be said to be the easiest to read. They are always the most common words, forming the most common sentences and telling the most common things. " (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. This 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, its trunk is as thick as a teacup and taller than the eaves. It blooms in the summer vacation. It's really purple. Lagerstroemia indica has six petals, but the petals have shrunk and there are petals on the side. It's just a broken ball with many stamens. There are many flowers on a branch. There are countless branches on a tree. It's a mess It's like a group of kindergarten children letting go of their high and crisp little voices and making a big noise together. " (Wei Zi) Wang Zengqi's vernacular gives people a sense of liberation-the original vernacular. Another example is his prose "Tiger Shark, Ang Sniffing Fish, Aos, Snail, Snake", which is devoted to eating. There is a saying: "Suzhou people attach great importance to Chinese gloves." Shanghai people are also very happy when they mention Chinese gloves. What kind of fish is Eriocheir sinensis? I have been longing for it for a long time. When I came to Suzhou, I tried to taste the pond snakehead, but I didn't eat it. Later, I learned that the snakehead in the pond is a tiger shark and is 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 linguistic features, and the overall framework of his novels has European characteristics. Unlike this, Wang Zengqi's novels are often in a large narrative framework. Wang Anyi said, "Wang Zengqi's novel is very naive, very old and stupid, and tells a leisurely story. From the beginning,' there used to be a mountain and a temple on it'. For example,' The National SouthWest Associated University has a 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' ("connoisseur") and then slowly walk down from the beginning, never showing off a shot, making it confusing. He completed one thing responsibly and led from one thing to another. (3) I think Wang Anyi's description of Wang Zengqi's novels and the characteristics of the language are quite accurate. Read Wang Zengqi.

Authentic dialects are widely used in Wang Zengqi's novels and essays. The article is catchy and feels cordial. Wang Zengqi is very familiar with Wu dialect, and he knows its vivid beauty. In his novel "Sunday" and prose "Comfortable House", he used Shanghai dialect appropriately, such as "Fuck it" and "Tilt its Angle", which has both local color and charm. 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." Good morning! Have you eaten? Too many, too many! "This is 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 obsessed with folk culture. 65438-0950 was the editor of Talking about Rap and Folk Literature in Beijing. This experience greatly influenced him. Not only did folk operas and folk songs fascinate him, but even the slogan on the wall of a police station in Beijing promoting summer hygiene was "Leftovers must be returned to the pot!" ; "Advertisement" at the entrance of a midwife near Bamiyabad: "Get off lightly, get on quickly, lucky grandma"; What the bamboo and rattan worker wrote: "selling new rattan chairs and repairing old ones" also aroused his interest. He sincerely praised "these are all good languages, and you can really suspend going abroad, and you can't add or subtract a word." (4) In the years when Talking about Rap was compiled, Wang Zengqi saw the great influence of folk literature on a writer from Zhao Shuli, or, under the influence of Zhao Shuli and his works, Wang Zengqi, who has a strong interest in folk literature, realized more clearly: "A writer should read a little folk literature-first of all, he should learn the milk of sweet poems from the masses, gain aesthetic experience and receive national aesthetic education." (5) Many years later, when Wang Zengqi was there.

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.

Wang Zengqi not only looks for resources from daily spoken language, dialects and folk literature, but also attaches great importance to obtaining nutrition from classical literature. Wang Zengqi's language inherited the prose style of Tang and Song Dynasties. He likes Shi Shuo Xin Yu and Notes of Song People, and inherits the prose tradition of Ming and Qing Dynasties. He has repeatedly mentioned several essays by Gui Youguang, a writer of the Ming Dynasty, such as A Brief Account of the Past, Ridge Hints, Burial Records of Cold Flowers, etc. Wang Zengqi's novel creation will benefit a lot if there is no trace of the connection between narrative language and character language. "What I nourish most are the masterpieces 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 novels still echo the aftertaste of Gui Youguang from time to time. " (6) With these "aftertaste", Wang Zengqi's language is in modern Chinese and ancient times. That's the secret. Take the opening paragraph of the Commandment for example: "The old name of this place is a bit strange, called Zhuang. Zhao, because most Zhuang people are surnamed Zhao. It is called Zhuang, but people live in scattered places. There are two or three here and two or three there. As soon as you go out, you can see it from afar. You have to walk some way, because there is no road, it is a winding ridge. -"This is the vernacular, almost no adjectives are used, but it reads like a short sentence and has a style. If we read Gui Youguang's Burial Records of Cold Flowers, I think it is not difficult to find that the rhythm and rhythm of this vernacular has natural similarities with Burial Records of Cold Flowers.

Obviously, the emphasis on "style of writing" in classical Chinese was transferred to vernacular Chinese by Wang Zengqi, and there was no trace. On the other hand, the trace is clearly written in the vernacular in classical Chinese, and he is not shy about it. On the contrary, he made a splash. A passage from the article Duck Eggs at Dragon Boat Festival: "Gaoyou salted eggs are characterized by fine and sandy quality. Protein is very soft, unlike other places. " As Yuan Zicai said, cutting with a shell is a way to treat people to dinner. Usually when you eat, you usually break the' short' and dig it with chopsticks. When chopsticks are put down, red oil will flow out. "Here, the elements of classical Chinese and vernacular Chinese are well integrated, which is natural and not forced. For example, in Kannonji. Very good. " It is also vernacular, but popular. This kind of vernacular Chinese with literary popularity is different from the "old vernacular Chinese" after the May Fourth Movement, and it has no taste of the old 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 traveler sees Luo Fu, he caresses his moustache. When several people saw Luo Fu, he took off his hat and hoe. When the tiller saw Luo Fu, he forgot to hoe. He came back to complain, but he sat and looked at Luo Fu. " Luo Fu's beauty is set off from the side. He read the description of "Joe" in "The Chronicle of the Big Fight". When she goes shopping, she doesn't care whether she buys meat, vegetables, oil, wine, torn cloth, hair rope, hair oil, cream, caustic soda or syrup. She bought back the same money, more than the average person, and everything was better than others. This mystery has long been discovered by the aunts and uncles, who entrusted her to buy things. As long as Qiao Yun goes to the streets, she takes it with her. Joe set off. When she leaves, someone always finds 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 both have the same effect!

Of course, Wang Zengqi is not the only writer who tries blind date in literary creation, but I think 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 have broken the boundaries between poetry, prose and novel, and eliminated the discourse taboo among various styles. Wang Zengqi embodies the charm of oriental aesthetics with his strong imagery and poetry. "Sitting alone, the door is like a city, and the time is as long as a small year." ("The past of an old friend") "A boat full of melons, a boat full of color and a boat full of desire. A boat full of stones, a race. Little duck, a red dragonfly. " (Revenge) "Green duckweed, purple duckweed, long-legged mosquito, water spider, wild water chestnut with four petals of small white flowers. Startled up a green pile (a kind of waterfowl), brushed the reed ear and flew to Lu Lu badminton. " (Cixi) This is not a novel, but a poem, a poem.

"There is a tofu shop on the street, and there is a donkey pulled by a mill. Every afternoon, a child in the tofu shop always rolls around under grandma's elm tree with a donkey. When the donkey is tired, it rolls over and over again, but it can't turn over. Four or five times, ah, it has been turned over. The donkey snored and relaxed. Grandma has been saving energy for this donkey. Do not scream.

"Bruce Lee every day after school, after Wang Yuying's house. He saw Wang Yuying. Dinner is blooming vigorously, and they are desperately going out, like crazy, shouting and opening themselves in the evening air. Thick green leaves; Crimson, rouge-like, a lot of red flowers; Very lively, but very sad, there is no sound. In front of the dense green leaves and messy red flowers, sat 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 takes the story as the key link, but after reading it, there are only people in my mind and no stories. This kind of natural gossip does not look like the writing style of the novel on the surface, but it completes the function of the narrative discourse of the novel and has a fresh and natural aesthetic feeling. Wang Zengqi said in "Three Postscripts of Novels by the Bridge": "This kind of novel breaks the boundary between novels and essays, almost like essays. The structure is particularly casual, and you can write whatever you want. Novels should be sincere, and no tricks can be played. Of course, novels should talk about skills, but rhetoric should be sincere. " (7)

"In January, it snowed heavily. -In February, it was windy. -In March, grapes were put on the shelves. -In April, they were watered. In May-1early February, the grapes were put into the cellar. -"("Grape Month Sequence ")

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 created a new pattern of China's novels in 1980s. In these works, Wang Zengqi does not pay attention to the personality of the characters, but pays attention to the atmosphere, showing the beauty of sound humanity and health with pure and elegant lofty beauty. Soft water, hazy moon, swaying clouds and charming sandbars, sensitive young monks, Xiaoying, Qiao Yun and 1 1 the subtlety of a son in Minghai. Confused 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, in the last two paragraphs of Cixi, "Eiko jumped into the middle cabin, and the two oars quickly rowed up and rowed into the reeds. The reed flower has only sprouted new ears. Purple-gray reeds are soft and smooth, like a string of silk threads. In some places, it is like a small candle. Duckweed, long-legged mosquito, water spider and wild water chestnut opened four petals. Fly away from Lu Lu badminton-"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. They wrote hazy love, blurred feelings, and unique purity, romance, innocence, picturesque and intoxicating. It has become a glorious hymn of human beauty and touched thousands of heartstrings. The Chronicle of Make a hullabaloo about describes the love between eleven sons and Qiao Yun, which is as beautiful as autumn moon, as tough as reed 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 Cold Years": "The weather is particularly good this day. There are no clouds in Wan Li, and there is a bright moon. In the middle of Yin Cheng, a shelf more than four feet high was set up. Some people had an early dinner and sat on a bench and waited. All kinds of people who buy snacks are here. Those who bought beef kaoliang spirit sold back dried tofu. There are also seafood sellers-purple-skinned water chestnuts, and freshly peeled lion-headed rice-which are white and hot, and smell of fennel everywhere. People find relatives and friends, gossip, come and go and kiss each other. The grass in Yin Cheng has been trampled down, and the soles of people's feet are also called the thick juice of autumn grass. Suddenly, thousands of pairs of eyes gathered together. 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, he writes about customs, but in essence, he is based on customs, exaggerating the atmosphere and showing characters from the side. In the joyful atmosphere when people watch fireworks, Tao Huchen feels joy, while others feel his kindness.

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 his novels with his hometown as the background, Wang Zengqi painted genre paintings with strong local characteristics, which are fascinating. It provides us with primitive living fossils of pastoral scenery and vivid folk customs.

The beauty of language, gorgeous or simple, simple or simple, depends on whether it can deeply touch a person's heart. Just like a woman, it is easy to be amazing, but it is not absolute. While her eyes are ordinary and refreshing, she can also catch the eyes and hearts of others, because her charm lies in her gestures and smiles, which are actually more cordial than the former. And it lasts longer. 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, the clothes are still the same, but with a charm, a charm and a beauty. Not everyone can reach this realm. There is a saying in Buddhism: Monks can only speak ordinary words. In other words, a truly enlightened monk will not always preach to you with his head held high, nor will he always recite two verses that no one can understand to prove his profundity and uniqueness. 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 clamor, and no pretentious celebrity customization. He is calm and peaceful. He is eloquent and careful in his comments. Perhaps it is precisely because of this feature that his articles make people feel relaxed and happy, 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, 1997, 1 edition, p. 246.

⑤ Lu Jianhua: Biography of Wang Zengqi, Jiangsu Literature and Art Publishing House, 1997, 1 edition, 12 1 page.

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

(7) Wang Zengqi: "Three Postscripts of Novels by the Bridge", "Wang Zengqi's Collected Works and Fiction Volume", 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.