No matter in study or work, everyone will inevitably come into contact with or use papers. Thesis is a tool to describe academic research results for academic exchange. How to write a thoughtful and literary paper? The following are the papers on the aesthetic characteristics of Fei Ming's novels that I collected for you, for reference only, hoping to help you.
Abstract: As a unique existence in the history of modern literature in China, Fei Ming's novels have a strange aesthetic feature. Aesthetic Utopia, pastoral sentiment and spiritual pursuit of Zen transcendence create a mirror-like "dream" world in Fei Ming's novels.
Key words: Fei Ming, "dream", narrative, aesthetic characteristics, human beauty, artistic conception beauty and spiritual beauty.
Fei Ming's creation can be described as a "dream". The aesthetic utopia, pastoral nature and Zen transcendence of his works are intertwined into dreamlike poetic style and aesthetic characteristics. He once said: "When creating, it should be' rumination'. So it can be a dream. It is a dream, so it is separated from the original real life by a vague boundary. The success of art is here. " Fei Ming's whole literary view cannot be separated from the word "dream". He linked "dream" with literary creation, saying that Shakespeare's plays are just a dream: "Shakespeare's plays contain many terrible facts, but we readers think he is a poem. This is precisely because he is a dream. " Fei Ming often laments that his creation is like a dream: "The story of bamboo forest, the story of willow trees by the river and the story of going to the countryside are all the crystallization of my previous life." Now I often think of him. This is just a dream. I don't know how this dream came about. I feel incredible! " He not only thinks that creation is a dream, but also calls his comments on other writers' words "telling others' dreams with his own dreams". Guan Ying thinks that Fei Ming's Bridge is "the author closes his eyes to reality and constructs a utopia in fantasy" and "has a hazy color, like a dream and a fairyland". In fact, The Bridge is a dream novel rather than a soul novel.
1. Aesthetic Utopia: "Dream" of Human Beauty
Fei Ming's novels mostly describe rural children's affairs in daily life and harmonious and pure interpersonal communication in a quiet and beautiful environment. Fei Ming's novels lament the lost childhood dreams and cherish the disillusionment of hometown dreams, showing hazy, warm and simple human beauty. Bridge describes the pure beauty of rural life and the simplicity, sincerity, harmony and beauty of interpersonal relationships from the perspective of children. The people living here are calm, serene and friendly, and the communication between people is frank. Grandma Shi has no feudal paternalism. She didn't stop the childhood love between Xiao Lin and Qin Zi. Instead, she went to Kobayashi's house to propose marriage, fix them up and achieve a century-old inheritance. Although she knew Xiao Lin was worried about Zhu Xi, she didn't interfere, but treated him well and cared about him as usual. The kind third dumb uncle volunteered to stay in the historian's house as a long-term worker to repay grandma Shi's kindness. Qin Zi painted her life and prayed that her grandmother would live to be a hundred years old. The innocent love between Qin Zi and Xiao Lin happened in this simple and kind country life. They studied calligraphy together, watched flowers and picked peaches together, and gradually developed a simple and sincere friendship. Ten years later, Kobayashi's heart is full of affection for Xizhu. His feelings waver between Qin Zi and Xizhu, but at the same time he maintains a simple, hazy and beautiful emotion with Qin Zi and Xizhu. There is no mutual suspicion and quarrel of love triangle in general novels. They have a simple and harmonious "threesome", and their communication is beautiful, harmonious and quiet. This is a fairy tale of the adult world, and it is Fei Ming's fantastic memory, memory and yearning for pure and beautiful sexual communication in childhood. This dreamlike warm and harmonious love, strong human touch and picturesque rural scenery set each other off and show Fei Ming's "aesthetic utopia".
Second, the pastoral mood: the artistic beauty of "dream"
Fei Ming created a gentle pastoral dream, far away from the noise and full of deep poetry. The origin of this kind of poem is inseparable from its artistic beauty creation. Zhou Zuoren once said: "Fei Ming wrote a unique artistic conception with his concise articles." [4] The creation of artistic conception beauty in Fei Ming's novels is reflected in the following aspects.
The overall significance of harmonious coexistence between man and nature. Fei Ming is not satisfied with the superposition of sporadic simple images, but pursues a kind of "transcendental artistic conception, artistic conception itself, a kind of beautification realm of ideologists interwoven with words" [5]. The description of the beautiful rural life in Yuejiawan, Shijiazhuang in "Bridge" has created a fantastic and beautiful realm. Strictly speaking, Bridge has no coherent story, but the whole novel is connected with the flow of consciousness and emotional experience of the characters. Each article can be studied as a short article, each article is independent, and almost every article is creating a "beautification realm": either a description of the beautiful scenery in Zhongling Mountain, a freehand brushwork of local customs, a detachment and understanding of life destiny, or a revival and fantasy of everything in the world. At the same time, these images blend into the overall atmosphere, creating a fascinating hazy and dreamy realm. In Willow, willow trees are endless green, people shout under them, children beat willow trees, tie willow balls around thin bamboo, and long wickers are covered with thin bamboo, and so on. , forming a quiet and pure picture of life, the beauty of tranquility and the beauty of the world are intertwined, forming a dreamlike fairyland.
Poetic construction of multiple images. The images in Fei Ming's novels are complicated, among which the most typical ones are "bridge", "tower" and "grave", which contain the characteristics of Fei Ming's thought and embody its uniqueness. "Bridge" is a central image created by Fei Ming in "Bridge". In the first half, the hero Kobayashi easily crossed the bridge many times, while in the second half, Kobayashi dared not cross the bridge. Only thin bamboo with light posture and elegant piano sound cross the bridge. This bridge is a symbol of "the bridge of love and marriage". Fei Ming also wrote many images of "bridges" in other texts: the stone bridge in front of Mary; There is no need to cross the "bridge" when Mr. Wang was a child. "Tower" is also a very important image in Fei Ming's novels: in Jingle Dang, He Xiangu's "tower on a bridge" is an old man struggling to ferry to heaven; In "Bridge", the stone tower of Guanyin Bodhisattva and the tower of the chapel that Kobayashi told Zhu Xi. Fei Ming once said: "There is a chapter in this volume called' Tower'. Of course, I want to use' Tower' as the title." "I also like the name of this tower. More than once, I always wanted to erect a tower on the bank of my bridge and carve a few words on it myself. " [6] Another important image is the "grave". "Bridge" has written many times about Qingming Sacrifice, graveyard play and dialogues related to graves. Grandmother's grave is decorated with pomelos, Huan Yi's mother's high and low grave slopes, and Chen Cheng's grave is made of bamboo forest made of scraps of paper. Fei Ming's novels can often become an image in one sentence. For example, "one or two lightly smashing clothes sent him to the Woods on the other side of the dam", and the quiet pastoral life scene was immediately revealed; The image of green grass silently in the rain, Fei Ming only uses the word "raindrop green" to present; In addition, there are few words such as "weeping willows with green eyes" and "riding on a horse and floating outside the green forest" with beautiful artistic conception.
Aesthetic application of artistic conception in classical poetry. Fei Ming once said, "As far as expression is concerned, I am obviously influenced by China's poems. I write novels like quatrains in the Tang Dynasty. If there are two or eight quatrains, a poem will be successful. My novel is much longer, and it is to write quatrains and refuse to waste language. " [7] Fei Ming used many predecessors' poems in Bridge, which made the artistic conception in classical poetry beautiful. For example, "There is a big willow tree in front of the Han tea shop in Qin Zi's heart, and spring grass grows in the pond under the tree." "I can see a bamboo forest in the distance, and my memory is like a pool of spring water, which is wrinkled by the breeze." Naturally, there are ancient poems, which are not abrupt, but also full of artistic conception and interesting. In addition, the characters in the novel are full of poetry: Qin Zi stands by the bridge, and Kobayashi looks at the thin bamboo across the bridge and casually says, "Red strives to warm the trees." "I wake up in this beautiful spring morning, and birds are singing all around" has narrative function, which not only explains the season (time), but also renders the surrounding environment. The use of classical poetry makes Fei Ming's novels have implicit artistic beauty.
Third, the aesthetic transcendence of Zen: the spiritual beauty of "dream"
Fei Ming intends to dilute and blur the suffering and sadness in real life by excavating the beauty of human feelings among children and creating the beauty of artistic conception in rural life. Fei Ming's works are indifferent and simple Buddhist figures. They don't complain about other people's grief, don't cry, and some accept suffering and misfortune, even death. In Fei Ming's novels, suffering and misfortune can be seen everywhere. In bridge, Qin Zi and Zhu Xi are orphans. Uncle Sam came to Shijiazhuang to beg. Grandma Shi Jia lost her child in her old age and raised her granddaughter. Sister dog gave birth to a child and died ... the hardships and sufferings of life hung over people. In The Story of Bamboo Forest, three girls live in poverty, and only one girl is left among the three children. Mary's fate in Mother Huan Yi is tragic. However, Fei Ming did not emphasize the bitterness of life, but wrote the tenacity and normality of the characters in the face of suffering, showing readers a detached attitude towards life. Fei Ming's novels describe "a picture of daily life purified by Zen philosophy and aesthetics, full of Zen meaning" [8]. Fei Ming intends to open the distance between art and reality and create a spiritual Eden that is opposite to the real world and entrusted with his ideal feelings and pursuits. Questioning the meaning of life in a distant, simple and quiet dream-like world, seeking ways to transcend the suffering of life and taking the dream-like world as the conversion of the soul.
The repeated appearance of many images such as "bridge", "tower" and "grave" in Fei Ming's novels also shows the aesthetic transcendence of Zen. In Fei Ming's works, the image of "bridge" is not only a concrete thing, but also a symbolic symbol with rich meanings: it carries the hero's beautiful memories of the past, and it is often more metaphysical. The essence of "bridge" is "crossing", which leads people from one shore to the other. It has religious significance and shows the hardships and sufferings of people's self-transcendence. The tower by the bridge is all beings in the universe, and the tower made by Guanyin is innocent undead. The image of "tower" expresses Fei Ming's compassion for the suffering life and the suffering world. The image of "tomb" has philosophical transcendence. In Fei Ming's view, there is no boundary between life and death. Buddhism emphasizes the cycle and emptiness of life. "Grave" is not only a mound for burying the dead, but also reflects Fei Ming's meditation on life existence and physical death and his love for aesthetic life philosophy.
Different from aesthetic utilitarianism, novel creation embodies the ultimate concern for life and pays attention to the deep suffering of life. Fei Ming combined the western philosophy of life with China's Buddhism and Taoism, created the dreamland of aestheticism and transcendence in a unique artistic way, and formed an aesthetic utopia and transcendental spiritual beauty, thus making it a unique existence in modern literature. In a sense, Fei Ming's novels "reflect the deep return of China's classical literary tradition" and "explore the mystery of life with the ultimate caring attitude and vision", and his novels "reflect the author's serious thinking and hard exploration of the meaning and value of life from beginning to end".
Fei Ming once talked about the influence of western world-weary literature and art on him: "It's a pity that there is no world-weary article in China's article." He likes reading Shakespeare's plays, Hardy's novels and Thoreau-Cooper's novels. "There is beauty that China's article does not have." . Although Fei Ming was inspired by the western world-weariness, he finally turned to the transcendental realm in China's classical literature: "China's life is really practical and not ideal, and he doesn't like to think about that' death'." Death consciousness plays an important role in Fei Ming's novels. Life and death is an important issue in Buddhism and an important aspect of Fei Ming's life thought. Fei Ming's novels are full of reflections on various opposing elements in life, such as life and death, dreams and reality. In Fei Ming's view, death is inevitable and the disappearance of the body, but it is more beautiful, and it is the "mirror" and "lamp" to know and understand life. Starting from the transience of life and body, the pursuit of detachment from natural life endows life with eternal meaning, which makes Fei Ming's novels have some metaphysical meaning for the pursuit of dreamy beauty. Fei Ming used the dazzling beauty of death to contrast the joy of life and the freedom of soul, and turned reality into a dreamy realm: "Mirror is Fei Ming's metaphorical expression of dreamy life and illusory world. Judging from Fei Ming's profound psychological creation mechanism, the imaginary world in the mirror is seamless with the external real world, and the world in the mirror is even far better than real life. The world in the mirror is a kind of survival experience and ideal life expression of Fei Ming beautification and dream life. " [3]37 It is at this point that Fei Ming inherited Zen and surpassed it.
Artistic characteristics of Fei Ming's novels
Fei Ming's novels are unique. In the history of modern literature in China, his creation is completely different from that of Lu Xun. Fei Ming learned from China and the West, and also from others. He combined Tao Yuanming's simplicity and indifference, Yu Xin's freshness and chic, Li Shangyin's agility and agility, Du Fu's compassion, Hardy's concise rhetoric and Chekhov's delicate description into his own creation. It has formed a unique artistic style of Fei Ming's novels, which is simple, subtle and euphemistic, flexible and concise, clean and reasonable, and compassionate.
First, the novel is full of local flavor and pastoral sentiment.
Fei Ming's novels mostly express the interest of life by describing daily trifles, and express the simple and quiet beauty of pastoral life and the simple and peaceful beauty of human feelings and homesickness by diluting the simple and beautiful brushwork. "What he described is not a great tragedy or comedy, but the ordinary life of ordinary people-this is the reality." (1) Shen Congwen said: "Not only the moving and clear laughter of the rural girl, but also her clever posture, a small river and a lonely sunflower tree growing in the corner of the vegetable garden, we can all approach it from the works, even the rural air with a slight smell of cow dung and straw, as if we were carrying a book." ⑵ grapefruit depicts the vivid image of cousin grapefruit through a series of daily chores in childhood. "I know that my jar is almost finished and I stole the name of grapefruit during the day. Grapefruit also understood my trick, but she didn't say anything. Finally, I finished eating for the first time and was forced to take out the remaining grapefruit and divide it. " (3) The tenderness and loveliness of grapefruit and the naughty and stubborn character of "I" are vividly on the paper.
"Fei Ming's combination of rural flavor and pastoral sentiment is almost natural, opening up a different kind of beautiful world for modern rural novels." (4) The Story of Bamboo Forest describes a poor and happy day for a farmer beside a bamboo forest by the river. The three girls in the article are full of long poems and youthful breath. The author's description of the three girls' intelligence, intelligence, elegance and refinement, as well as their yearning for a happy life, is unforgettable. The purity of this novel has reached an unattainable level. Shen Congwen's Sansan, Border Town, and Wang Zengqi's Notes on Big Trouble may all be influenced by this work. Sansan and Cui Cui written by Shen Congwen and Qiao Yun written by Wang Zengqi all have the shadow of three girls. However, I think, only Border Town can match, while articles such as Sansan, The Chronicle of Big Trouble are both poetic and simple.
Second, the novel structure of prose culture
Fei Ming's novels have a distinct prosaic tendency in structure: downplaying the plot, emphasizing the rendering of emotion and artistic conception, and using lyrical brushwork to make the beauty of pastoral landscape and character temperament complement each other.
Fei Ming put a lot of space on the description of natural scenery and humanized it. Writing about scenery means writing about people. The story of bamboo forest, the story of Taoyuan, the story of Lingdang and the willow tree on the river are all representative works of blending scenes. In Bells, "When the sunset can't shine through Taojia Village (there are many tourists in the city at this time), it is inevitable that someone will climb the battlements to explore the water, but the result is that the city people look at the city people as if they can't say that the water is clear and the bamboo leaves are green-the city people also look at the city people." This is similar to Bian's Broken Chapters, "You stand on the bridge and watch the scenery/the people watching the scenery watch you upstairs/the bright moon decorates your window/you decorate other people's dreams."
5] How similar they are! I don't know whether Bian was influenced by Fei Ming or their own originality. However, it is an indisputable fact that Fei Ming's Lingdang was written at 1927 10, while Bian started to write poems at 1930, and this Broken Chapter was written at 1935 10. Moreover, Bian himself said that "I mainly get the artistic enjoyment of reading poetry from his novels".
[6] Although The Bridge is a novel, it does not have a coherent storyline. Each story is a relatively independent scene, and the characters and their environment constitute a beautiful picture. This prose and lyrical writing tendency directly influenced Shen Congwen in later generations. Shen Congwen further advocated: "By writing The Hunter's Diary by Turgenev, travel prose and novel stories are integrated, so that people can float in the unique geographical background of sunny southwest." Everything still means something like' raw materials', which deserves special attention. "On one occasion, Shen Congwen further said," All art allows the author to inject a lyric poem, and short stories are no exception. "As Shen Congwen's Border Town, it is deeply influenced by Bridge in structure and charm. They all describe the simple and harmonious life in the countryside, and they all describe a simple love in the world with poetic style. " Bridge describes the budding love between Cheng Xiaolin and Shi He, while Border Town has changed from a man and two women to a woman and two men: Cui Cui, Tianbao and Nuosong.
Third, poetic novel language
Fei Ming's novels also have obvious poetic tendency. Fei Ming himself admitted that he was "obviously influenced by China's poems". Writing novels is the same as writing quatrains in the Tang Dynasty. He refuses to waste language. ⑼ Wang Zengqi said: "He moved the symbolism of transcending rationality and expressing one's mind in late Tang poetry into the novel. He writes novels by writing poems, and his novels are actually poems. " ⑽ He wrote novels with the method of quatrains in the Tang Dynasty, so he has such excellent works as Jingdang, Taoyuan, Beach and Monument. Many sentences in Fei Ming's novels have the beauty of quatrains:
"Boss Wang locked the moonlight with a bolt." (Taoyuan)
"The deaf went to the gate of Shi Jia, stopped and looked up at the pomegranate in the yard, as if they could see people." ("Jingle")
"The stone for washing clothes is placed on the shore, just half in the water." (Bridges and continents)
"Then I don't know what to say. It seems like a long time." (Bridges and continents)
"The grass is so green that it swallows the sun. It is suspected that it is slowly jumping there, or it is countless." (eight hairs on the bridge)
"Light can't help my grandmother's love, and the girl's heart can't be ignited by herself. -"(bridge lamp ...
Fei Ming's novels are poetic, and because of his novels, he showed the characteristics of euphemistic and implicit leap in art in his early years, especially around 1927, which was brought into full play, and Taoyuan was one of them. "Boss Wang has only one girl, 13 years old, who has been ill for almost half a month." The opening remarks are concise to the extreme. "Taoyuan" focuses on the sincere love between Wang Lao and Amao's father and daughter. Amao is a patient himself, but he still takes care of his father. Seeing that his bottle was empty, she tried her best to persuade him to buy wine. Boss Wang misses sick Amao with all his heart, because his daughter said, "Peaches are delicious." Even if the peach production season has long passed, it is good for the father to put some change in the empty wine bottle and replace it with a glass peach for his daughter to "have a look". The writing style is as simple as Lu Xun's, but it writes the love between poor father and daughter, which makes people cry, and its artistic appeal is comparable to Zhu Ziqing's prose "The Back".
The novel Bridge embodies the poetic features of Fei Ming's novels. Reading Bridge is like reading a long poem. The whole book is poetic. Every chapter, even a sentence or two, has its own artistic conception.
"This bird is really green when it flies. The sky on the slope is oblique to the wheat on the ground, and the wheat on the ridge is green. Two pairs of eyes control its scissors and pen. " (Qiaocha Store)
"('drizzle dreams of chickens') This kind of rain is really interesting and not wet." (Bridge Tower) "
"No matter how hard it rains, it is not enough to grow a flower." (bridge tower)
Such beautiful poetic sentences can be seen everywhere in Bridge. As Feng Jiannan said, "Bridge is the art of novel, poetry and language. ⑾
Fourth, break away from the concise, implicit and euphemistic writing style.
Fei Ming's novels also have a very special style of writing, which is clever, concise, implicit and euphemistic. Zhou Zuoren spoke highly of Fei Ming's conciseness: "The recent neglect of articles is also a defect of new literature. Indeed, there are novelists in the literary world who have written fluent or gorgeous articles, but it is rare for Fei Mingjun to be so concise. " ⑿
The beginning of Fei Ming's novels often uses concise and clear language to explain the location or background of the story. The story of bamboo forest, the first paragraph: "there is a river out of the city, cross the river and go west." There is a cluster of bamboo forests at the foot of the dam, and a heavy hut is exposed in the bamboo forests. There are vegetable gardens on both sides of the hut: twelve years ago, their owner was a very kind person, and everyone called him Lao Cheng. " There is a paragraph at the beginning of "Jingdang": "Taojia Village is on the dam of Jingdangwei, only half a mile away from the city. Leave the dam and cross the bridge. Take a sandbar to the west gate. " After I listed these two paragraphs, I extracted some paragraphs from Shen Congwen and Wang Zengqi below:
"From Sichuan to Hunan, there is an official road to the east. When this official road came to a small town called "Tea Cave" near the border of western Hunan, there was a small white tower next to a stream, and a family lived under it. There is only one old man, one girl and one yellow dog in this family. " (Shen Congwen's Border Town)
"Yang's mill is on Shanzui Road, a mile away from the steamed stuffed bun. The fortress is located in the mountain bay, and the stream flows along the foot of the mountain. The gentle water suddenly became urgent at the corner of the mountain pass, so someone used it to build a stone mill at the rapids a long time ago. I don't know when it started, so I called Yang Jiamo. " (Shen Congwen's "Three Three")
"From the shipping company to the east and west, each has a stone's throw, and there are two clusters of households. These two families are also different, each with its own customs.
There is a family at the east end of the brain. There are only two people in this family, father and daughter. "(Wang Zengqi's" The Chronicle of Big Fight ")
"The place name of this place is a bit strange, called GuanZhaoZhuang. Zhao, because most 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 there is still a long way to go, because there is no road, it is a winding ridge. Buddhist nun is because of buddhist nun. Buddhist nun is called Bodhi Temple, but it is called Lingjiao Temple. Even the monks in buddhist nun call it that. " Where is Bao Sha? "-"water-water-water temple. There used to be a nun in the monastery, a monk temple and a nun. However, monks live in temples. Probably because the water chestnut temple is not big, the big one is a temple, and the small one is a temple. "(Wang Zengqi's" Commandments ")
As can be seen from the above paragraphs, Shen Congwen and Wang Zengqi were obviously influenced by Fei Ming in their writing style, especially in their language. Wang Zengqi said in Preface to Fei Ming's Short Stories: "I used to like Fei Ming's novels and was influenced by him." ⒀
In terms of conciseness, I think first love is an example, although this novel is rarely discussed. When I first met Yin Jie, I wrote: "I fell in love with her as soon as I saw her; Grandma said "Sister Yin" and called it "Sister Yin". Sister Yin immediately agreed with a smile, and there was a dimple on each side. " Among them, the sentence "Grandma says' Sister Yin' is called' Sister Yin'" is completely a daily language, and it is extremely simple without any bedding and rendering. The description of Yin's sister is also carried out with the development of the plot in the writing, which makes the writing flow like a cloud without trace.
"First Love" ends: "It's been ten years: I went back to my hometown for the first time after I got married, and I only met my grandmother in a hall; Don't miss grandma when she recovers "is a lie told by her family that she loves her grandson thousands of miles away." My wife told me that a mother-in-law in her fifties cried worse than her aunt, and then she came to see the bride, followed by a sister-in-law and put my photo on the table. "Is this Brother Yan?" Instead of directly describing the death of "grandmother", we use "mourning hall" to imply that grandmother has passed away. And "a sister-in-law looks like a sister-in-law" implicitly points out that Sister Yin is married and now she is married. In this short passage, I made an implicit confession about my grandmother's death and Yin Jie's marriage, which was as ingenious as poetry, leaving a blank for readers to understand through re-creation in reading. In "Small Five Cattle-herding", Wang Pangzi occupied the evil deeds of the honest farmer's wife, and through a child's perspective, he wrote tactfully and tactfully: "Wang Pangzi lives in Uncle Chen's house, and Mao Ma is by no means Wang Pangzi's wife." In the objective narrative, there is sympathy for the farmer Chen Daye.
V. The profound connotation of the blending of reason and compassion
Fei Ming is seriously underestimated in the history of modern literature in China. Although more and more people agree with him, although he is recognized as the originator of poetic novels, people pay more attention to his uniqueness and appreciate his picturesque side, while ignoring his profundity and his indifferent and effortless side. "After the war, Fei Ming's local memory was no longer as pure as the early' slight smell of straw', adding a lot of joy and heaviness, thus enriching China's local memory." 14. On behalf of the other side of Fei Ming's fame are his two novels, Biography of Mr. Xu Fei and After Mr. Xu Fei flies away.
Biography of Mr. Xu Moyou is an autobiographical novel, which embodies Fei Ming's unique creative method. The whole novel is poetic and obscure. The combination and transformation of sentences and images are very abrupt, often reaching an incredible level. Biography of Mr. You is an autobiographical work based on the author's real life in Xishan, which has a strong realistic color. The inspiration originally came from Tao Yuanming's Biography of Mr. Wuliu. "There are five miles away from Mr. Xu's home, and there are five big trees on the roadside. Therefore, the tree is passed on, and people pass on the tree, which is well deserved." Let's compare this passage in Mr. You's biography with the opening text of Mr. Wu's biography: "I don't know who Mr. Wu is or what his last name is." There are five willows beside the house, because I think the number is unknown. " How similar they are!
The hero's name in Biography of Mr. Xu Fei is Xu Fei, which is similar to Fermin's. What Mr. Xu has seen and heard contains not only Don Quixote's madness, ridiculousness, integrity and fearlessness, but also Kong Yiji's pedantry and kindness. It is just an artistic expression of Fei Ming's ideological transformation and his real environment after he dropped out of school to live in seclusion. Here is no longer the poetic simplicity of the past, some are the author's feelings and whispers about everything that happened to everyone, some are the ordinary reality of ordinary people, and what can't be concealed under the "absurd words" is the author's resentment and rational thinking about the world and human nature. The Biography of Mr. Xu Mo You describes and records the social world of China in the early 20th century, which is an excellent novel comparable to Fortress Besieged.
Fei Ming's last novel, After Mr. Fei Ming Left, embodies the characteristics of "returning to nature". On the surface, "interest" and "rational interest" have been completely diluted or indifferent, but in fact, we can vaguely see that its "aftertaste" is still there. Fei Ming wrote this work unintentionally. He just described the facts, and his language is very simple. The novel describes the protagonist's financial difficulties in rural life, the disadvantages of rural Baojia system and the backwardness of primary education in remote areas. Between the lines, the author's resentment is revealed, and the author's ideal is also pinned. Novels sometimes explain the philosophy of life with Buddhism, which makes it difficult to distinguish the true taste; Sometimes writing the hardships of life in a humorous style makes people memorable.
There are 17 chapters after Mr. Mo Xuyou flies. The last chapter, in Mr. Mo's works, reflects Fei Ming's consistent poetic observation of daily life and wise and absurd irony. The joy of "purity" and "kindness" when the two children are collecting firewood reflects the nature of innocent children pursuing happiness. In the adult world, "collecting firewood" has a dual nature: pursuing happiness and satisfying greed are two sides of human nature. Those who are not greedy must be sages. The interesting "firewood collection" of two children and the utilitarian meaning of adults are really "more interesting". "In fact, all the pleasures in the world are greed" [16], and Fei Ming inadvertently made the novel and reality itself and the shortcomings of human nature form a metaphorical whipping relationship. So Zhou Zuoren said, "I don't think Feng Jun's novels are escapist." Fei Ming hides his thoughts behind the words and deeds of the characters in the novels, so it is more profound.
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