What does Wang Zengqi's prose aim at writing?

It is characterized by simplicity, plainness and endless charm. There is a book fragrance between the lines, and there is an earthy fragrance in the south of the Yangtze River

-On the language features of Wang Zengqi's works. Detailed

Summary: This paper takes Wang Zengqi's novels and essays as the research object, and discusses the language features of his works. The author believes that the language features of Wang Zengqi's works are: unique colloquial language. Absorb the nutrition of classical literature. Break through the boundaries of poetry, prose and novel. Emphasize atmosphere rendering and show healthy humanity. Formed its unique literary language. It played an important role in breaking the unique discourse taboo during the freezing period after the Cultural Revolution. This determines the unquestionable stylistic significance of Wang Zengqi's works.

Keywords: Wang Zengqi, novels, essays, language

Many people like Wang Zengqi, and some even like him crazily. Wang Zengqi blew like a breeze in China's literary world, making people shine at the moment. He inherited the style of being a teacher of Shen Congwen, but he was good at drawing in a simple way and didn't become a family. The language of his novels and essays is as clean, round and refreshing as white stones washed in water. This language charm obviously benefits from the perfect combination of daily spoken language, dialect, folk literature and classical literature. Wang Zengqi naturally melted the refined ancient language vocabulary into the text, and absorbed the sweet milk from daily spoken language, dialect and folk literature, eclectic, tough and flexible, swept away the boundaries between poetry, prose and novel, and created a new style. When luxury is exhausted, it is true. Light and beautiful, small and exquisite, such as Yan language, singing and singing, smooth but not greasy. It is fascinating to read it. Wang Zengqi's clean and neat writing, light and tasteful, floats but does not come loose, and has the beauty of fledgling hibiscus, which can be described as extremely vulgar, elegant and complete.

Wang Zengqi's influence on China's literary world, especially on the younger generation of writers, is enormous. In the 198s, when modernism was popular, Wang Zengqi aroused the younger generation's feelings for their mother tongue, their renewed love for their mother tongue and their love for national culture with his beautiful words and narratives. The 198s was the era of popular translation style. In order to show their fashion and avant-garde, some writers imitated and copied the style of translated novels in large quantities, thinking that the translator's style was the modernist style. We can now see this naive imitation from some works at that time. Wang Zengqi conquered people of different ages and cultures with his very China style, and it was particularly "trendy", which made young people re-establish their confidence in Chinese. This paper attempts to analyze Wang Zengqi's works from the perspective of language.

a unique colloquial language

Wang Anyi said, "Wang Zengqi's old novels are the easiest to read. Always the most ordinary words, make up the most ordinary sentences and say the most ordinary things. " (1) That's true. Wang Anyi added: "Wang Zengqi's storytelling language is also quite honest. He almost never generalizes, but describes the process in detail and seriously, and it is a very daily process." (2) I think the language 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, and its trunk is as thick as a teacup, which is higher than the eaves. When it comes to summer vacation, it blooms, and it's really' purple'. The Osmunda is six petals, but the petals are shriveled and there are many irregular nicks on the edge of the petals, so it's impossible to tell how many petals it is, just a broken ball, and many flowers and stamens are shot out of it. There are many flowers on a branch. There are countless branches on a tree. What a mess. It's a mess. It's like a group of kindergarten children letting go of their high and brittle little voices and screaming together. " ("Ziwei") Wang Zengqi's vernacular gives people a sense of liberation-the original vernacular can be written like this! Another example is his essay "Tiger Sharks, Ang Sniffing Fish, Array Aos, Snails and Snakes", in which there is such a passage: "Suzhou people attach great importance to pond mud carp. Shanghainese, too, are very happy when they mention pond mud carp. What kind of fish is pond snakehead? I've been longing for it for a long time. When I arrived in Suzhou, I wanted to try the Tangyan fish, but I failed to do so. Later, I learned that Tangyan fish is a tiger shark, blind! " A sound of "blindness" has endless charm and lofty artistic conception.

Since the May 4th Movement, Wang Zengqi is certainly not the only one who has tried to integrate oral English into writing. Lao she is also keen on this. But if we compare these two people, I think Wang Zengqi is better. This is because most of Lao She's oral factors constitute certain language features, and the overall framework of the novel is quite Europeanized. Wang Zengqi, on the other hand, tends to obey the rules of oral narration in modern Chinese on the basis of a large narrative framework. Wang Anyi said, "Wang Zengqi's novel is very naive, very old and stupid, telling a story of leisure, and starting from the beginning,' There used to be a mountain, and there was a temple on it'. For example,' The National SouthWest Associated University has a literary wife' ("Chicken Feather"); For example,' There is a Chengzhi River in the north gate' (Miscellanies of Hometown); For example,' Ji Taomin, the first great painter in the county, and Ye San, the first connoisseur' ("The Appreciator") and then slowly go down along the beginning, never flaunting a shot, making it confusing. He finished one thing very responsibly, and now one thing leads to another. (3) I think Wang Anyi's description of Wang Zengqi's novels and the characteristics of language are quite accurate. Reading Wang Zengqi's novels is really so, everything is plain, but after reading it, you can't be calm, and there will always be a faint excitement in your heart.

authentic dialects are widely used in Wang Zengqi's novels and essays, and the articles are catchy and cordial to read. Wang Zengqi is very familiar with Wu dialect and knows its vivid beauty. He used the Shanghai dialect properly in his novel Sunday and prose "Comfortable House". For example, "Fuck that" and "Incline its Angles" have both local colors and vivid characters, which are appreciated by readers in Wu. In Shanghai, vendors selling sugar-fried hot ginkgo shouted in the street: "A wants to eat sugar-fried hot ginkgo, which is fragrant and glutinous!" The word "waxy" in that sentence made Wang Zengqi "chew" a delicate, soft and elastic charm. When he described the language style of the novel "Pregnant Women and Cows" by Tie Ning, he remembered the word "waxy" in Wu dialect. Afraid that the northern writer could not understand this sense of language, he said, "When we go to Shanghai, I'll buy a handful of roasted ginkgo for you to taste." Another example is "Morning!" in "Three Friends of Cold Years". Morning! Have you eaten? Too much, too much! " Very interesting. In fact, the use of dialects is to use the people's own language to get close to life. Languages like this are readily available in Wang Zengqi's novels and essays.

Wang Zengqi loves and even infatuates with folk culture. In 195, he worked as an editor of Talking, Raping and Singing and Folk Literature in Beijing, which greatly influenced him. It's not only folk operas and ballads that fascinate him, but even a slogan on the wall of a police station in Beijing that promotes summer hygiene, "Leftovers must be returned to the pot to eat!" ; The "advertisement" at the door of a midwife near Bamian Bad: "Get off lightly and get fast, lucky grandma"; The bamboo and rattan worker wrote: "sell new rattan chairs and repair old brown tension." It also aroused his interest. He sincerely praised and said, "these are all very good languages, and they can really hang out of the country without adding or subtracting a word." (4) In the years when he was an editor of Talking about Rap and Singing, Wang Zengqi saw the great influence of folk literature on a writer from Zhao Shuli. In other words, if a writer wants to achieve something, he should work hard to absorb sweet milk and poetry from folk literature. Influenced by Zhao Shuli and his works, Wang Zengqi, who had a strong interest in folk literature, realized more clearly: "A writer should read a little folk literature-first of all, he should swim in it, draw the milk of sweet poems from the masses, gain aesthetic experience and receive national aesthetic education." (5) Many years later, when Wang Zengqi made remarkable achievements in short story creation, he always emphasized the influence of folk literature on himself when talking about his creative experience.

When Wang Zengqi reappeared in the literary world in the 198s, someone exclaimed, "So novels can be written like this!" I think one of the reasons why people are amazed is probably Wang Zengqi's unique colloquial language style!

second, absorb the nutrition from 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 loved Shi Shuo Xin Yu and the notes of Song Dynasty, and inherited 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, The Annals of the Ridge and the Records of the Burial of Cold Flowers. Because Gui Youguang "didn't mean to write for the sake of writing", he wrote as if he were talking about household words, and there was no trace of the connection between narrative language and characters' language, from which Wang Zengqi's novel creation benefited a lot. "My deepest nutrition is the representative works of Gui Youguang, a great essayist in the 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. " (6) With these "lingering rhymes", Wang Zengqi's language has established an internal connection between modern Chinese and ancient classical Chinese. Why do those ordinary and ordinary daily spoken words have a special charm as soon as they are dissolved into Wang Zengqi's pen? The secret is in it. Take the opening paragraph of "Being ordained" as an example: "The old name of this place is a bit strange, called An Zhaozhuang. Zhao, because most of the Zhuang people are surnamed Zhao. It's called Zhuang, but people live in scattered places, two or three here and two or three there. As soon as you go out, you can see it from a distance, and you have to walk for a while, because there is no road, it is a winding ridge. An nunnery is because there is an nunnery. The nunnery is called Bodhi nunnery, but it's called water chestnut nunnery. Even the monks in the nunnery call it that. Where is the treasure temple? ----------" This is a vernacular, which is almost white without adjectives, but it reads like a long and short sentence, so white that it has a amorous feelings. If we read Gui Youguang's Records of the Burial of Cold Flowers, I think it is not difficult to find that the rhythm and rhythm of this vernacular in The Commandment have natural similarities with the Records of the Burial of Cold Flowers.

It is obvious that Wang Zengqi's emphasis on "literary style" in classical Chinese writing has been transferred into vernacular Chinese writing without trace. On the other hand, it is very obvious that the trace directly enters the vernacular in classical Chinese, and he is not taboo, not only not taboo, but on the contrary, making a big splash. Take a passage from the article Duck Eggs in Dragon Boat Festival: "Gaoyou salted eggs are characterized by fine quality and much sand. The protein is soft, unlike the dry and powdered hair elsewhere, and the mouth is like chewing lime. There is more oil than anywhere else. The way to eat duck eggs, as Yuan Zicai said, is to cut them with shells, which is a way to entertain guests at dinner. Usually eat, usually break the' short' and dig for it with chopsticks. As soon as the chopstick head goes down, cheep-red oil comes out. " Here, the classical Chinese elements and the vernacular elements are in perfect harmony, which is natural and not forced at all. Another example is the writing in Kannonji: "We have lived in the new school building of the General Assembly for four years, and there is no glass in the window. Paste mulberry paper on the pane, wipe a little tung oil, bright, quite artistic. Teachers have one dormitory, one bed, one desk and one chair. What else do you want? Very good. " It is also vernacular, but it is popular. This popular vernacular is different from the "old vernacular" after the May Fourth Movement, and there is no smell of old people and young people brought by half-written and half-white.

I remember that the image of Luo Fu in Mo Shang Sang has such a passage: "When the traveler sees Luo Fu, he has to stroke his mustache. When the few people see Luo Fu, they take off their hats and put on their heads. When the tiller sees Luo Fu, the hoe forgets his hoe. Come and complain, but sit and watch Luo Fu. " Set off the beauty of Luo Fu from the side, and read a paragraph describing "Qiao Yun" in "Da Nao Chronicle". "She weaves a net between two branches outside the door and weaves a mat on the flat ground near Nao, and some teenagers come and go as if they have something to do. She goes shopping in the street, regardless of whether it is buying meat, food, oil, wine, tearing cloth, measuring rope and buying. This mystery has long been discovered by aunts and grandmothers, who asked her to buy things. As soon as Qiaoyun went to the street, she carried several bamboo baskets, and when she came back, her arms were sore and sore. When the Taishan Temple sang opera, people all took the bench on their own, so they went away. Once there, someone always finds her a good seat to see. The play on the stage was lively, but not many people applauded. Because many people are not watching the play, but watching her. " You will find that the two have the same effect!

Wang Zengqi is certainly not the only writer who tries to meet each other in literary creation, but I think that only Wang Zengqi can "white" the vernacular in one kind of writing, and then melt the classical Chinese factors full of literati 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 between poetry, prose and novel

Wang Zengqi's works break through the boundaries between poetry, prose and novel, and remove the discourse taboos among various styles. With its strong imagery and poetic characteristics, it embodies the charm and elegance of oriental aesthetics. "Sitting alone with the door closed, the door is flowing, and the days are as long as a small year." (Once upon a time, an old friend) "Here comes a boat full of melons, colors and desires. A boat is a stone, competing with edges and corners. Maybe-a boat full of birds and a boat full of lilies. Apricot blossoms are sold in deep alleys. Camel. Camel bells are swaying in the willow smoke, ducks are barking, and a red dragonfly. " ("Revenge") "Green duckweed, purple duckweed. Long-legged mosquitoes, water spiders. Wild water chestnut has four petals of small white flowers. Startled up a green pile (a kind of waterfowl), rubbed the reed ear and flew away to Lu Lu Lu. " This is not a novel, it's a poem, it's a verse, it's flowing.

"There is a tofu shop on the main street, and there is a donkey pulling the mill. Every afternoon, a child in the tofu shop always leads a donkey to roll under grandma's elm tree. The donkey is tired. Once it rolls, it rolls again, but it can't be turned over. I rolled it four or five times, hey, I turned it over. The donkey snorted and relaxed all over. Grandma used to save strength for this donkey. When the donkey turned over, Grandma felt relaxed for it. " (elm). See "snowballing", is this a novel? Don't scream.

"Bruce Lee passes Wang Yuying's door after school every day. He saw Wang Yuying. Dinner flowers are blooming vigorously, and they are opening out vigorously, shouting like crazy, and opening themselves in the evening air. Thick green leaves, a lot of green leaves; Deep red, rouge-like, a lot of red flowers; Very lively, but very sad, there is no sound. In front of the thick green leaves and the messy red flowers, there is 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? Don't scream.

As usual, stories are the main theme of novels, but after reading them, all I can think about is people and no stories. On the surface, this kind of natural gossip text doesn't look like a novel style, but it has achieved the function of narrative discourse in the novel and has a fresh and natural beauty. Wang Zengqi said in "Three Postscripts of Novels by the Bridge": "Such novels break the boundaries between novels and essays, and are almost essays. The structure is particularly casual, and you can write whatever you want. I did it on purpose (and with painstaking care). I want to make a decision on the concept of' novel'. Novel is about life, not making up stories. The novel should be true