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After so much searching, you should have what you want.
The creative features of The Romance of The Three Kingdoms are various. First of all, it has made amazing achievements in characterization. There are about 400 characters in this novel, among which the main characters, such as Zhuge Liang, Cao Cao, Liu Bei, Guan Yu, Zhang Fei, Zhao Yun, Sun Quan and Zhou Yu, all have distinct personalities and become immortal typical images in the history of literature. In shaping these images, Luo Guanzhong followed a principle, that is, to grasp the basic characteristics of the characters, highlight one aspect, exaggerate it, and show the characters clearly to the readers by means of contrast. For example, Cao Cao's treachery can be said to have concentrated all the folk legends about Cao Cao's treachery, and his every move showed a treacherous appearance; Zhang Fei recklessly chose some reckless actions that Zhang Fei showed on different occasions, which made this character's sitting, lying and living all painted with reckless colors; Zhuge Liang's wisdom is to always put this character in the front line of struggle, so that he can defeat the enemy with amazing foresight, accurate grasp and careful arrangement, and show his extraordinary intelligence everywhere.
Secondly, there is a grand idea in the description of the war. This novel has written a series of wars, big and small, and unfolded one thrilling scene after another. These wars are ever-changing, non-repetitive, non-rigid, and have their own characteristics, showing the complexity and diversity of wars. For the description of every major war, the author should choose different angles to make clear the main figures, the deployment of troops, the strength comparison between the two sides, the use of strategies and tactics, the final result and so on. Although the war is always carried out in a tense, thrilling and intense atmosphere, it is sometimes full of heroic epic passionate style, such as Zhou Yu burning Cao Cao's army and Zhuge Liang capturing Meng Huo; Sometimes it seems calm and quiet. For example, Zhuge Liang concentrated on playing the piano in "An Empty City", while Pang Shiyuan read at night in "Battle of Red Cliffs", which was both dynamic and static, memorable and ingenious. Battle of Red Cliffs is the most prominent description of this war in the book. The scene of this war is grand, which is reflected in water, land, front and back, head-on fighting and secret wits. There are many characters, and almost all the important characters in the novel have appeared; Clear thinking is to show the military strategy of winning more with less, winning arrogance with ingenuity and winning loneliness with unity.
Luo Guanzhong's Romance of the Three Kingdoms can be said to push the historical romance novel to the peak, which has a far-reaching influence on the creation of historical novels in later generations and also provides good materials for the creation of other art forms. It has been playing a role in many aspects of social life for hundreds of years. Jiang Daqi, a scholar in the Ming Dynasty, said in the Preface to the Romance of the Three Kingdoms that as soon as Luo Guanzhong was written, people "scrambled to copy it." Because this novel is widely circulated in the society, it has a great influence on literary and artistic creation. Many literati imitate the language style of Romance of the Three Kingdoms, writing in a half-white and half-written way, and historical romance novels also appear in large numbers. In this way, many people who are new to writing can also read historical romance novels, expanding the scope of readers. As Wei, a scholar in Qing Dynasty, said in the book Preface to Questions and Answers: "Few people in the world read the History of the Three Kingdoms, but they got the outline from the Romance of Luo Guanzhong." It should be said that Luo Guanzhong's success in writing The Romance of the Three Kingdoms convincingly proved the superiority of the new description technique on the one hand, and gave great encouragement and confidence to other literati on the other.
In the history of China literature, there were few long masterpieces before Yuan Dynasty, and they were usually short stories. The appearance of Luo Guanzhong's Romance of the Three Kingdoms changed this phenomenon. Apart from Luo Guanzhong's personal novel writing ability, social development and readers' needs are also important driving factors. When human society evolved to the Ming Dynasty, material and spiritual wealth accumulated to a higher level, and people's lives gradually enriched. If short stories want to reflect the scenes of people's activities from all walks of life in a comprehensive and panoramic way, it is obviously not enough and readers are not satisfied. The Romance of the Three Kingdoms, with nearly 800,000 words, describes the intricate contradictions and struggles in the Three Kingdoms period in a fascinating and large space, which makes readers feel refreshed and greatly increases their interest. Thus, China literature entered the era of novel prosperity.
Romance of the Three Kingdoms not only has pioneering value in literature itself, but also many stories and characters in it have influenced people's daily life style. For example, the behaviors of Liu Bei, Guan Yu and Zhang Fei are imitated by many people, whether elite or ordinary people. As for the images of Zhuge Liang, Zhang Fei, Guan Yu, Zhao Yun, Huang Zhong, Zhou Yu and Huang Gai, to some extent, they have become role models in people's lives. Cao Cao, on the other hand, is the representative of the sinister and diabolical image of the people; Liu Bei is the embodiment of benevolence and righteousness. In addition, some storylines have also become a topic that people talk about, such as Lu Bu's Three British Wars, Zhang Fei's yelling at Cao Jun in Changbanpo, the grass boat borrowing an arrow, Zhuge Liang's condolences, Guan Gong's careless loss of Jingzhou, the trust of an orphan in Baidicheng, and the street pavilion in Ma Su. There are also many well-known folk proverbs that are often quoted by people so far, such as doing your best and dying; Born bright, he Yu Sheng; Third, please Zhuge Liang; Speaking of Cao Cao, Cao Cao will arrive; Hold the emperor and make the princes; Accompany his wife to fold the soldiers; Everything except the east wind; A dou who can't get up; Si Mazhao's heart is well known, and so on.
Artistic Achievements of The Romance of The Three Kingdoms
First, describe the war; Second, shaping the characters; Third, structural art; Fourth, language features.
Describe the war
The first point is the diversification of war. The book describes hundreds of wars, which can be divided into land wars, water wars, or mixed land and water wars, such as flooding the Seventh Army; It can also be divided into offensive and defensive warfare; Or ambush or sneak attack; Or divided into positional warfare and guerrilla warfare; Or the Lord will compete, or the two armies will scuffle in various forms.
The second point is the combination of military action and political strategy. For example, Cao Cao's southern expedition was not without purpose, but to complete the great cause of reunification. Liu Bei joined forces with Wu to resist Cao Cao in order to have a foothold, and then revitalize the Liu Han family. Zhuge Liang's expedition to the south was to solve the disputes with the southern minorities, stabilize the rear area and deal with the powerful Cao Wei with all his strength.
Third, the outcome of the war depends on ingenuity. The key lies in the cleverness of the planner, whether he can adopt the good strategies of his subordinates, whether he can correctly judge the enemy's situation, whether he can objectively distinguish loyalty from treachery, and whether he can handle things calmly. The victory or defeat of wars, big or small, is related to the use of wit. The Manuscript of Man gives many examples, so it is recommended to read the original.
Fourth, pay attention to people, not the war process. Absorbing the experience of Zuo Zhuan in describing the war, he wrote the strategy in detail and the battle process very briefly; Write in detail those who have the upper hand, and write slightly those who are at a disadvantage; Write winners in detail and losers briefly. Through several confrontations, the characters are gradually shaped.
Create a role image
Because Lu Xun criticized the Romance of the Three Kingdoms in A Brief History, "As for writing people, it is also quite lacking, so that Liu Bei's long and thick looks like a fake, and Zhuge's wisdom is close to a demon; Just for Guan Yu, he is very kind and brave, and he has always seen it. " In the past, many critics were influenced, afraid to overthrow their own theories and almost reached a conclusion. In fact, Lu Xun's view is biased. Romance of the Three Kingdoms may have a clear subjective intention of loyalty and treachery in characterization, but it is not black or white. Kong Ming expects everything to be like a god, but it is not foolproof. Cao Cao is a treacherous man, not without advantages. Guan Yu is loyal and brave, but he uses it for himself, regardless of the overall situation. For example: to compete with Ma Chao; Abuse Sun Quan and refuse to get married; Shame is juxtaposed with Huang Zhong, and is not subject to the seal of the five tigers; The fourth is to despise Lu Xun and lead to failure.
Structural art
The story of the Three Kingdoms takes the rise and fall of Wei, Shu and Wu as the vertical line, and the development of war and the activities of characters as the material. The rise and fall history of more than 90 years can be divided into three main stages: the first stage is from the Yellow Scarf Uprising to Battle of Red Cliffs; The third stage is from the Three Kingdoms to Zhuge Liang's death. In the meantime, with the complicated disputes between Wei Shuwu, various wars, large and small, and ingenious schemes of civil servants and military commanders, they were brought out one by one, and finally formed a complete big story. Because the structural wheels of traditional Zhang Hui's novels echo each other and develop along the main line, they are concentrated in dispersion and consistency from beginning to end, forming a unified novel system.
However, in dealing with 97-year-long historical events, from the beginning to Zhuge Liang's death, 104 was used in fifty-one years, and in the following forty-six years, the length of time was actually nearly half, but only 16 was used to summarize the historical evolution, and its composition arrangement was obviously unbalanced. What is the reason? Because the Romance of the Three Kingdoms takes Shu Han as its orthodoxy. In the first 50 years, it was from scratch, from weak to strong, and United with Wu to resist Cao. These glorious deeds in the world are naturally worth writing about. But after Zhuge Liang's death, the situation took a turn for the worse, and Shu Han began to face collapse. Time was running out and the space was greatly reduced. It can be seen that in terms of structure, the factor of processing time is important.
In the description of Wei, Shu and Wu, there is a war between Shu and Wei, but it is more a war between Shu and Wu, and more a war between Wu and Wei. However, the focus of attention has always been on Shu and Wei, and the description of Wu has been somewhat ignored. Because of this, people who study the characters of the Three Kingdoms also lay particular stress on Shu and Wei Junchen intentionally or unintentionally. In other words, the author is also very thoughtful in determining priorities.
As The Romance of the Three Kingdoms is a war novel describing the theme of war, we can also sort out a structural context from the special plot formed around war stories. Zheng Tiesheng's Art Appreciation of the Romance of the Three Kingdoms attempts to analyze its structure in this way, taking the three major battles of Guandu, Chibi and Yiling as the main line, interspersed with some minor auxiliary battles, and running through the book, forming a war system (1992, pages 246-273). Mao Xin and Ye Xu have a similar view. They take Battle of Red Cliffs as an example: from the beginning to the end, * * * counted it eight times, including a series of short stories, Cao Cao's writing style, the war of words between Zhuge Liang and Confucianism, Jiang Gan's recruit, Huang Gai's dangerous move to fight, Kong Ming's borrowing arrows and the east wind, and Hua Rongdao's explanation of Cao Cao, all of which formed a big focus and became an orderly structure.
language feature
The Romance of the Three Kingdoms is written in plain classical Chinese, which is concise and lively. This was widely appreciated by people with a little culture in feudal times, which was beneficial to communication.
The book Romance of the Three Kingdoms, especially Mao Pingben, borrowed many poems from ancient writers. Compared with vernacular Chinese, the use of plain classical Chinese can make it more unified and harmonious with these poems in language style.
Romance of the Three Kingdoms created many idioms, quoted or invented many proverbs, which were lively and enriched the language of the Chinese nation.