What does Mo Yan’s novel Moonlight Zhanxiang reflect and criticize? Ask for guidance

The short story "Moonlight Slash" is actually a letter written. The story of the novel is told in an email. The story delivered by the email is bizarre and exciting, and it is an incident. Big events in the county.

Something happened to Deputy Secretary Liu of the County Party Committee, and his head was missing. The head was hung on the top of the tallest cedar in front of the County Party Committee office building, and the headless body was found in the only three-star hotel in the county. In a luxurious suite of the hotel; what is even more bizarre is that the body sitting on the sofa "has no trace of blood at all" and "the severed head is as smooth as if it has been soldered with a soldering iron - some people say it looks like it has been treated with quick freezing technology." Life is as smooth as ever."

The story leaves a lot of suspense: what happened and who caused the deputy secretary of the county party committee to be separated from his body. What kind of sharp weapon is made so neatly? Is it a vendetta or a love killing? Still dissatisfied with the bureaucracy.

This leads to a series of "legends": starting from the current legend of "Moonlight Slash", tracing back to the stories and legends that happened during the steel smelting in 1958 and the "Cultural Revolution", and finally back to to the real-life legend about the truth about Deputy Secretary Liu incident. These enigmatic or completely unexpected legends are full of fiction and reality, fiction within reality, and reality within fiction, conveying a very rich content of reality and historical life. [

The "prototype" in Mo Yan's "Moonlight Slash" is very similar to Ah Q in Lu Xun's works. He is a democratic lazy man who does not fight and strive for. What he lacks is the warrior spirit and is damaged by external forces. In order to protect their own interests, they are just complaining, muddle along, and have no choice but to go to the knight in black. "Moonlight Slash" is a variant of this "archetype". The brilliance of the work is that it hides the "black-clad knight" of revenge. "Xia Ke - The Pride of the Banquet" turned the people's dream of revenge into that strange blade, that magical moonlight slash.

Mo Yan was deeply influenced by Mr. Lu Xun's "Forging a Sword", which is a historical novel included in Lu Xun's collection of novels "New Stories". But Mo Yan’s works are by no means a repetition of Mr. Mo Yan is the spirit of creation and the pioneer of artistic development. "Moonlight Slash" has its own new symbol and new meaning. "Moonlight Slash" not only writes about the chivalrous spirit that we yearn for, but also exposes the people's inertia that is not easy to detect, and deepens our understanding of the people.

The work describes the process of steelmaking: “They threw more than a hundred worn-out Japanese steel helmets, more than fifty iron pots, and more than 10,000 iron pots lifted from coffins into the steel-making furnace. There were iron nails and more than a thousand Arhat coins, but only a dissatisfied spoonful of molten steel flowed out when the steel was tapped. This was the essence of real metal. Seven sharp blue lights shot straight into the sky, and seven meteors fell along the blue light to the molten steel. In the spoon. When they landed, the golden light and the blue light clashed violently, emitting a dazzling light, and exuding a stupefying aroma of burning ice..."

The sword-making scene: " When the men lifted the blue steel to the anvil with No. 1 tongs, the blacksmith shop turned into a world as transparent as ice. The people and objects in the room were like objects from ancient times, solidified on a shallow surface. In the blue amber. At this time, only by observing carefully can you see the fish-shaped steel lying lively on the anvil, shaking all over, not knowing whether it is pain or excitement, as the old blacksmith said. It was a beating, or rather a stroking of the blue steel. The three sons, who were like wolves and tigers, each wielded an eighteen-pound sledgehammer and gave it a hammer. Then, the old blacksmith's small hammer was pecking like a chicken. The hammers in the hands of the three sons were struck as quickly as rice, with enthusiasm and passion, like the hooves of a galloping horse, and the strange thing was that there was no sound as usual. The sound of the father and son forging iron could be heard half the street, and even the sound of the train whistle was muffled. But now, this forging, this labor, is extremely violent, but the chirping of the crickets in the corner is no longer heard. Listening to it makes people feel the sadness of late autumn and the brevity of life."

The brilliant literary language, the fantastic imagination, the touching, impactful, shocking, and magical steelmaking and forging processes determine this strange weapon. The blade.

This reminds people of the golden cudgel used by Sun Wukong to stabilize the sea in "Journey to the West". The people like Sun Wukong's narrow-mindedness, and also hope that he has magical and powerful weapons. This is so similar.

Mo Yan created the image of that blacksmithing company in the article.

The article introduces: "Outside the east gate of the county, there used to be Dongguan Village. There was a blacksmith in the village, surnamed Li. Blacksmith Li lost his wife in his sixties, and his three sons grew up one after another. None of them had wives, and they made a living by blacksmithing with their father. The father and son are both illiterate. During the Spring Festival, they asked a man in the village who had been a private school teacher to write a couplet. The man was very playful and wrote: One school has four bachelors, and the father and son have eight hammers. The horizontal comment is against the rules, and there are only three words: It's a head-to-head fight. This alliance is very famous, and everyone in the county knows it." But just for the mysterious girl's request, "I have a good piece of steel, please help me make a knife... Look. Are you here? It's just a piece of steel. I want to ask you to make a knife." The old blacksmith who was sick in bed took off his shabby coat, exposed his skinny chest, and scooped up a ladle of cold water from the bucket. , drank it down, then wiped his mouth, straightened his back, as if he was twenty or thirty years younger, and said boldly: Sons, light a fire!!!... Wait until the shape of the knife is When the anvil gradually appeared, it cost three lives.

Take it away. After saying this, the old blacksmith fell back and stopped breathing.

Take it away. After saying this, the old blacksmith's eldest son stopped breathing.

Take it away. After saying this, the old blacksmith's second son stopped breathing.

Take it away. said the old blacksmith's youngest son.

The girl grabbed the knife, like holding a piece of moonlight, and said to the blacksmith's young son: Come with me. ”

This skinny old man with a bronze voice was heroic and courageous. He persistently gave up his precious life for a responsibility, for the inheritance of the blacksmith family, and for a “righteousness”. This is what Lu Xun and Mo Yan are looking for. Today's version of the ancient chivalrous spirit.

Mo Yan has written about blacksmithing more than once, in his famous work "Transparent Carrot", which is a fiery, passionate and mysterious poetic scene. There is a tall, thin purple-red old blacksmith with an expressionless face and a stiff neck. He possesses unique skills and sings a desolate lament. Among them, Old Han is tall and thin. He is tall, has deep wrinkles on his face, is bald, and his eyes are always full of tears. The rhythmic sound of metal being forged and struck seems to embody Mo Yan’s understanding and perception of life, and his pursuit of ideal personality. < /p>

Mo Yan is worldly, and his "view of writing as a common man" forces him to face today's real social reality. It is impossible for his words not to convey the psychology and voice of the painful and helpless people. "Moonlight Slash" is just a manifestation of the twists and turns of social reality. People think and act like this in "Moonlight Slash".

From Mo Yan's short story "Moonlight Slash". From the beginning, to the ice-like indifferent spectators in his later short story "Thumb Cuffs", to the trinity of psychology and image of spectators, executioners, and tortured persons in the novel "Sandalwood Punishment", Mo Yan's artistic exploration has reached the extreme, and this line of succession continues. The chapter greatly developed and enriched the national thought that Lu Xun understood.

The "Moonlight Slash" cast in legend is just a daydream of the revenge of the weak.

Readers in the article. I still saw the bright side of fighting, and there was always a small group of people who came out and took to the streets. The article wrote, "When the crime-solving experts from the province, city, and county racked their brains, a Legend has it that it blew like the wind to every corner of the county, even the two people-loving projects on Yong'an Street and the public toilets with green mosaics on the outside and white mosaics on the inside - the toilets. Urinal - On the white mosaic wall above, someone - maybe a ghost - wrote three big characters with a colored pen: Moonlight Slash - Of course, this legend has also spread from the county to the countryside, and even spread to other counties and provinces. , foreign countries. Each of those three words is as big as a football, and the handwriting is clumsy. At first glance, it looks like the graffiti of a naughty child, but upon closer inspection, it looks like someone with a good foundation in calligraphy is pretending to be young. "The slogans of "Moonlight Slash" appeared all over the city and were loud and clear, which naturally expressed the common desire of the people to use supernormal power to punish the unjust oppressors.

The name "Moonlight Slash" is very beautiful. The writing style is also "very Moyan", and the formal structure of "Yimeier" and "annex" is used at the beginning and end. It seems to be a novel work, but after reading it carefully, it feels old to the eye.

The story here is old, and the main core is derived from "The Ruler between the Eyebrows", and even the author himself "consciously" mentioned it at the end of the novel; the "outstanding" part is old, and those who are interested in color and the dazzling rendering of sensory instincts. Since "Transparent Carrot" and popularized by the movie "Red Sorghum", not to mention literary readers, people all over the country are familiar with it.

In the novels "Sandalwood Punishment" and "The 41st Shot", Mo Yan's techniques have been renovated. Now, if he goes back to the old tricks, it is really difficult to produce much artistic impact. This is not only a problem of readers' "aesthetic fatigue", but also because the text has lost its vitality and is full of glib tone. The only "new" thing is the form of email, but the way it is used is really like a writer who changed his pen too late and suddenly seeks something new.

There is no essential connection between the so-called new form and the content of the novel. The main text of "Yimeier" as the beginning and end is deleted, and the main body of the story in the "annex" is basically unscathed. As a short story, such formal exploration can basically be said to be a failure. Furthermore, if the main body of the story is in the "Attachment", the narrator should be the nephew who sent the "Attachment", but when entering the story, I find that the narrator's tone changes to Mo Yan from time to time, as if the author has forgotten about the attachment. The occurrence of such low-level mistakes makes people wonder, did Mo Yan pick up and paste the form of "Yimeier" casually? Objectively speaking, the artistic level of this novel is not low.