On the Aesthetic Features of Su Tong's Novel Language
Instructor: Pan Wen
Author: Han Yu
Su Tong's language is very attractive. In this paper, the sentences in Su Tong's novels are selected to analyze the mystery from five aspects: detailed description of details, hidden emotions behind calm expressions, unconventional combination of language and aesthetic poetic language.
Keywords: Su Tong's detailed description of emotional language, unconventional variation, poetic language
Su Tong's language is full of charm and creativity. He can always play with strange and beautiful poetic language leisurely, and make use of skillful brushwork to make the characters whose characters are distorted and neglected alive. His works are constantly changing between rural areas and cities, past and present. In the interweaving of time and space and region, in all kinds of pessimistic, lonely and absurd plots, Su Tong's ability to master language is amazing.
A detailed and vivid description of the details.
Su Tong is full of confidence in "painting on white paper", and his novel language often presents a strong sense of picture. In the process of creation, he seems to have opened all the senses, keenly captured the feelings of sound, light, touch and taste, as well as those trivial details, and expressed them delicately.
1, subtle action description
Song Lian bent down and looked into the well. Well water is blue-black, and old leaves are floating on the water. Song Lian saw her face swaying in the water and heard her breath being sucked into the well to enlarge it. Dull and powerless, a gust of wind blew, blowing Song Lian's skirt like a bird. Song Lian felt a hard coolness at this moment, beating her body slowly like a stone. Song Lian began to walk back, walked quickly, and returned to the porch of the south wing. -"wives and concubines in groups"
The world in the well is a black temptation for Song Lian. Her series of actions showed that she wanted to see clearly, so that she was no longer inexplicably afraid, so she "saw her face swaying in the water and heard her breathing being sucked into the well to enlarge", but she never dared to get close. "Song Lian began to walk back, walking quickly, back to the porch of the south wing, and took a breath." This fear is both for the dark well and the ominous well. Through the subtle description of the action, the contradiction, fear and anxiety of singing lotus are implicitly expressed.
"Little Wuhan found that his life was ruined by his own hands. He had to let his own hands save him, but he didn't know how to save him with one hand except slapping him in the face and punishing him with one hand." -"Hands"
From the subconscious action of porter Xiao Wuhan, we can really feel his distortion, destruction and mutilation of human nature.
2. Description of scenery and still life
Staring at a rosewood ball in her hand, it exudes a familiar fragrance. It is poured on brocade ribbons and skirts, and blends with the unique frankincense of girls, which is the amazing fragrance of Mei Niang's mother and sisters. -"Wu Zetian"
In Wu Zetian, the author repeatedly describes the fragrance of rosewood ball, which is directly related to the psychological changes of the protagonist in the novel, and rosewood ball is a crucial image.
On the morning of my father's death, the frost was thick and the sun hung like a broken egg yolk behind the peak of Tongchi Mountain. Bai Duan saw a flock of egrets low through the Sapium sebiferum forest. They walked around the black tiles of Zhu Gallery near the mountain hall for a while, leaving a few shrill cries and a few feathers. I saw that my wrist, stone box and books were covered with grey loose feces of herons. -"My Imperial Life"
Using broken egg yolk to describe the sun, on the one hand, shows that the sun is dim in the morning fog, on the other hand, it also symbolizes the death of the emperor, the treacherous atmosphere in the palace and the fate of the declining dynasty.
Song Lian walked to the well. Her body is extremely light, as if walking in a dream. There is a smell of rotten plants around the drilling platform. Song Lian picked up a wisteria leaf from the ground, looked at it carefully and threw it into the well. She saw the leaves floating on the stagnant water of the basket like decorations, covering her floating shadow, and she couldn't see her eyes. -"wives and concubines in groups"
The rotten smell of plants and the stagnant water in the secluded basket set off a gloomy atmosphere, and Lian Song's abnormal behavior revealed her weak and uneasy heart.
3. Color description
In aesthetics, color includes subjective color and objective color. The painting and rendering of objective colors can create a specific atmosphere and tone.
Su Tong used to use bright red to express his feelings in his works. His characters are more or less related to this melancholy "red", such as HongLing, Song Lian, Hong Ling and Duan Hong.
Last winter, after drinking white wine with you, I knocked over a bottle of red ink and drew eight of my relatives on the wall. I also wrote a poem to be included in the history books left by my youth. It was a gibberish, inarticulate confession poem. In the poem, I fantasized about the glorious past of my family and the black and red disaster line that runs through this blood. There are many kinds of beginnings and endings that alternate. Finally, I was in tears. I wiped the red ink on the paper hard, and the poem could not distinguish the handwriting. -"1934 escape"
Whether in Wives and Concubines, North District or Poppy House, red has become a symbol. Poppies in full bloom, ghostly night flowers and red lanterns in the dead of night, are bright red in a lonely place in the dark night, but they are so evil and charming. Red is in sharp contrast with heavy tones, which makes the novel more tense and impactful, and also renders a decadent and sentimental atmosphere.
Second, the emotion hidden behind the calm expression.
Zhu Guangqian, an aesthete, once said: "First-class novelists are not all people who can tell stories. Most of the stories in first-class novels are like flower stands made of dead trees, which are only used to support a flowery and vibrant kudzu garden. Beyond these stories is the poem in the novel. " "Poetry in the novel" is actually a kind of artistic conception of "transcending the image and getting its beauty", and what haunts this artistic conception is the flow of emotion.
Su Tong never reveals his feelings and praises easily in his novels. His narrative is extremely calm.
I also heard that Mrs. Yang was also given the gift of death. She refused to die. She fled barefoot into the palace, and was later chased by three imperial secretaries and strangled with white silk. When seven lipstick coffins were dragged to the tomb, there was a dull crash in the coffins, which surprised everyone. Later, I saw with my own eyes that the coffin lid was slowly pushed open. Mrs. Yang actually sat up from the coffin. Her loose hair was covered with sawdust and red sand, and her face was as white as paper. She couldn't repeat the crying a few days ago. I saw that she finally waved the printed testamentary edict at the crowd. Soon the servants in the palace filled the coffin with sand, and then Mrs. Yang's red coffin was crucified again. I counted, and the imperial secretary nailed 19 long nails to the coffin lid. -"My Imperial Life"
The scene of Mrs. Yang being crucified alive in the coffin is extremely cruel and bloody, which is unsightly to read. However, the author calmly and tirelessly described the process of torture in detail, and the blood shed in the court was truly presented to the readers.
In addition, the crying waste princess was gouged out by the little emperor; How tragic! The author's pen should write calmly: the tongues of those concubines who love to cry look like delicious pig tongues with sauce red. It's chilling.
Li Yizhi's "unprecedented capital punishment" which failed in the uprising is even more difficult to read. However, the author's language is always calm and calm, and behind this calm, almost gamification text is the author's decadent and desperate mood, which is the loneliness and rebellion of the last century, but it can give readers great sensory stimulation and mental tremor.
Third, the abnormal combination of languages.
The diversity of the objective world and the diversity of people's thinking, emotion and aesthetic value lead to the diversity of speech use. Narration, description of people, description of scenery and objects, and abnormal use of language in novels can make speech codes break through their own capacity and bring strong aesthetic meaning. Thus, a colorful variant speech world is presented to people. This world cannot be understood by reason, but it can be interpreted by the decoder with the help of context and aesthetic experience. ①
Su Tong is a master of changing combined languages. Subversive sentences and strange images can be seen in many of his works.
1, expressing contradictory things in the same language period.
Su Tong is very good at Wen Yiduo's "stagnant water" style of writing ugliness with beauty.
"In the cold light, a scarlet blood flame shot up, mottled blurred. Chen's young and magnificent body generated a loud noise and threw himself on the yellow road. "How did the blood on the yellow road turn into a lotus shape that morning? Chen' s cracked blood is filled with the fog in early autumn, which is slightly sweet. " -"1934 escape"
This is a scene in which Chen kills his wife during his escape from 1934. Gorgeous colors and images are used to describe the killing scene, and sweetness is also used to describe the smell of blood. It is estimated that no reader will feel good-looking, but there is a feeling of nausea. This is the effect of writing ugliness with beauty.
2. Sometimes, the organization of speech code breaks through the normal thinking intention and gives people a feeling of surprise.
"Old qin don't understand the pain in Wuhan. He just blindly persuaded Xiao Wuhan. What happened to our business? It is also an iron rice bowl. People will die all their lives. Who doesn't have that day? In fact, the dead are the safest. They have no thoughts. Like a sleepy child, they are soft and obedient. In recent years, I sometimes see things with poor eyesight. The last time I dressed Grandpa Xiaomei, I always felt that his shoulders were moving, as if to cooperate with me, and I was going to turn over. "
I'm afraid the work of the corpse driver can't be linked with the "iron rice bowl", but the optimistic old Qin broke through the normal thinking and linked the two words together, resulting in banter, humor and irony.
Fourthly, the aesthetics of poetic language.
Su Tong's novels not only absorb a lot of western modernist techniques in language use and expression skills, but also have classical aesthetic interest and pay attention to the creation of artistic conception and poetic language.
The poetic language of Su Tong's novels is first manifested in his use of many words and images with the special charm of China tradition. Ge once brilliantly expounded: "Begonia in summer, wisteria in autumn; Sad rain, cold snow; Wait; They constitute the series of China ancient literati paintings in the novel. " More importantly, the actions of the characters in the novel, such as Meishan singing opera, Fei Pu playing the flute, Chen Zuoqian's impotence, singing lotus and being drunk, are also vivid. "It continues the tradition of ancient poetry and prose in China and literati painting in China, and expands the expression space of China's modern novels with a style of painting and calligraphy." "I prefer to say that Su Tong is a writer with the traditional literati flavor of China and deeply rooted in the soil of China. Because of his flavor, he gained the ability to fly over the hometown of Populus davidiana, cross the street of Toona sinensis, review history and look forward to reality that Lu Xun and Mao Dun could not.
Secondly, it is reflected in his narrative style of Su Tong. Reading his novels, we seem to see a person standing in the artistic conception of the novel, looking at a scene and an event in the novel, and then telling you calmly, showing a clean and transparent artistic conception, "such as gorgeous and feminine Suzhou silk." ③
Xiaopi, a boy, was born on the night of January, just as the heavy snow began to stop. The north wind blows the ice under the eaves, the stone road of Toona Street is muddy, and the moat parallel to the street is covered with thick ice. On the way to the crematorium, the boy mobster lifted the sleeve of the deceased many times and looked at the pig tattoo on his left arm, which radiated magical light on the fragile skin of the deceased. -"Tattoo Age"
This environmental description only intercepts three fragments: the ice in the north wind, the muddy stone road in Toona Street and the frozen moat, but it has made people feel the sinister environment, and it is conceivable what it would be like if it were snowy.
The next day, it was foggy and the hilly area was wet with white water vapor. The stems and leaves of plants and crops smell warm and smoky. This is a humid morning unique to the hometown of Pterocarya stenoptera. Fiona Fang is five miles away, beautiful and sad. -"poppy house"
In this description, the dense water vapor comes to my face, but a faint stroke makes people feel infinite charm.
However, behind these scenes and objects, contrasts and metaphors full of classical charm, modern themes such as distortion and harm of human nature, loneliness and pain of life stand out. In Su Tong's works, the pursuit of classical aesthetic style and the expression of modern themes are seamlessly integrated.
In a word, Su Tong's novels have both a strange and beautiful sense of modernity and a beautiful and poetic sense of classicism. Meticulous and picturesque description, hidden emotion behind calm expression, unconventional variation and combination of language and beautiful poetic language constitute the personality symbol and aesthetic charm of Su Tong's novel language.