In the history of modern and contemporary literature in China, there are many novels with peasant life as their genre. The earliest and most famous farmer was Ah Q written by Lu Xun. Lu Xun's other novels, Sister Xianglin in Blessing, Runtu in Hometown, Jin Jiu's old lady in Storm and Ai Gu in Divorce, are also well-known farmers in the history of modern vernacular literature. The most famous farmer "Ah Q" is mentioned here.
Ah Q's personality: love success, laziness, self-deception, good at spiritual victory. Everything in ah q is parallel. Because it is so characteristic and typical, Ah Q transcends the attribute of "peasant" and rises to be synonymous with backward China people-national character and inferiority. In this sense, Ah Q is not a pure farmer, but a national. He is a farmer, a citizen and a refugee. The remaining nine Jin old ladies Xianglinsao, Aigu and Runtu are farmers, but they don't have much sex with Guo Rui. Guo Rui is a farmer. He went to the city and studied for several years. Ah Q people only wander in the countryside and never go to the city-with the city, they don't associate. For farmers in modern vernacular novels, going to town means taking risks. For example, at midnight, Mr. Wu entered the city and was knocked down by the crazy neon of Shanghai, the most prosperous metropolis in the Far East. His death has a strong metaphorical effect in the novel. These squires and peasants who have been bound to the land all their lives are ignorant, ignorant, do not know how to change their lives, and do not want to experience new feelings. Whether it is Ah Q, Mr. Wu or later rural works, it is a typical method for the revolution created by modern vernacular Chinese to derogate from traditional local culture. In these novels, the village is ignorant, the villagers are dull-so enlightenment is needed-and the village culture is decadent, so a strong change is needed to change China, from the old to the new. Here, the word "new" has a strong revolutionary meaning, and the worship and yearning for "new" culture means contempt and abandonment of "old" culture. Unfortunately, rural culture bears the brunt and becomes the bombing target of the main attackers of new culture. However, our knowledge of the "old" cultural period was born late and scattered all over the place. The literary description of that era was more freehand than realistic, with a high degree of abstraction and allegory. After systematically rereading these mainstream works in the history of modern literature, I have a strong feeling that these mainstream works misled people's understanding of the rural world at that time, thus shielding and isolating our understanding and feelings of traditional culture. Zhou Zuoren, who was also born and raised in Luzhen, created the opposite of these mainstream works with his relatively warm narration and beautiful rural memories. Visitors can see that the rural haze in the early works of modern vernacular Chinese is more ideological fog than concrete emotion and realism. Xiao Hong's Biography of Hulan River contains a lot of tragic events, but her own childhood life is also full of warm colors. For a revolutionary enlightenment understanding, warm colors are not appropriate. Different from these previous farmers, the new farmers in Misgurnus have a strong desire to change their lives. He wants to realize his dream by working in the city. After Ah Q, the old Bao Tong in Mao Dun's Spring Silkworm is also a famous farmer. Old Bao Tong worked hard all winter, thinking that he could catch his breath with a good harvest. Unexpectedly, the harvest is still not good. According to the literature course, the problem of old Bao Tong is that he doesn't know where the problem lies and how to "resist the oppressive class". In the last sentence, the textbook says: "The real way out for farmers needs to be found outside the bumper harvest." At this point, Guo Rui, the hero of Loach, is better than his peasant predecessors. In the new society, there is no class oppression and everyone is gay. Everyone is equal before the law. When Guo Rui goes to town, he won't meet traitors, comprador, green red gang, red-haired Sam and pseudo-policemen like Ah Q. After entering the city, Guo Rui will only meet all kinds of civil servants who serve the people wholeheartedly. At this point, Guo Rui should feel superior to the peasants. In addition to senior farmers such as Ah Q, Run Tu and Lao Tongbao, there is another kind of "peasant image" that is not mentioned in the official history of traditional literature, such as Cui Cui in Shen Congwen's Border Town. "Raised in a windy day, it turns the skin black, striking as green mountains and clear water, and a pair of eyes as crystal. Nature has nurtured her and educated her. She is innocent and lively, just like a small animal everywhere. " Cui Cui here is not the orthodox image of the oppressed peasants, but the unruly spirit in the countryside.
In Lu Yao's masterpiece Life, Liu Qiaozhen is a new farmer in the new era. Her characters continue Zhao Shuli's way of creating a new peasant king in Three Mile Bay. In a pure village, an illiterate but sensible new female image is suddenly implanted, which combines the aura of heaven and earth. They are not only classical, but also strong and optimistic, full of confidence in the future and beauty, just like the girls in the colorful oil paintings of Russian wandering schools. Although Liu Qiaozhen met a heartbreaker, her traditional revolutionary optimism, like pesticide residues on vegetables, kept her beautiful and kind. Some hard structures are cracking and some stones are weathering, but these changes are still in the primary stage and cannot cause a fatal blow to Liu Qiaozhen.
Feng Tao, Guo Rui's fiancee in Loach, is also beautiful, gentle, kind and fragile, and has entrusted the writer with a beautiful ideal. However, the story happened in the wrong place, the narrative was not thorough, and Feng Tao's character formation and change were not sufficient. On the contrary, Feng Tao's beauty of human nature is very weak in the novel-the reliable background of the novel is very important. Cui Cui was born in a border town in western Hunan. She is very pure, so I don't need to elaborate. The extraordinary taste permeates there. On the other hand, Feng Tao is not pure, and the fog of evil is spreading: Tao Dong, a villager, went to town to look for Feng Tao because his brother slept with his wife and wanted to rape her. He is proud of his despicable behavior: then everyone is even.
Feng Tao has no resistance to this evil, nor can she resist her uncle's harassment in the city. Feng Tao's kindness and purity brought her not firm confidence and strong strength, but fragile problems. Where is it? Why did Liu Can Qiaozhen resist this erosion and continue to be beautiful and kind, while Feng Tao was at a loss and fled? Liu Qiaozhen has strong rural moral support. In her time, although this morality will soon be in danger of falling apart, the baptist represented by uncle Deshun, a local priest, can still baptize Gao Jialin, a lost lamb, with condescending morality, and let the prodigal son return to the sheepfold. At least, the eight hundred miles of Qinchuan in the novel are picturesque. In the era of Feng Tao, rural scenery and rural morality have been completely destroyed by the crazy modernization process in the new era. Pastoral smoke has become the black fog of township enterprises, beautiful scenery has become a toxic mountain, and running away from home has become an action that everyone longs for. The countryside took too many pesticides by mistake and began to vomit violently, throwing up everything they raised, from livestock to crops. In Mo Yan's novels, there is a shocking description of the new scenery in modern countryside. In his novels, filth and fragrance are mixed, ugliness and beauty are mixed, bananas and feces are mixed, abandoned babies lie under sunflowers, and flies are caught on the corn cob. The beautiful girl turned into an ugly girl, and the clear river was flooded by black water-from white clouds to night, it was hollowed out. The local young people fled from the countryside to the city. This is a complete denial of traditional pastoral thought. This reverse escape turned the Peach Blossom Garden in the story into a stagnant pool, while the hustle and bustle of the city made Guo Rui, who plunged into the maze of streets like a loach, feel relieved after a little shock. They can't see the sky full of tall buildings clearly, and they can't feel the dark night in neon confusion, but they have a little uncertain confidence in surviving in this chaotic life. Fish in troubled waters has always been the strength of rural teenagers. In the quagmire of the city, as long as you reach out hard, you can always touch something. For example: loach.
Guo Rui is a wage earner with various skills in worldly desires. His fiancee Feng Tao came to this city to ask him for help. His mind is full of vulgar tastes: "Since I heard that Feng Tao was coming, I have established the idea of having sex with her." Guo Rui tried to strike first and killed Feng Tao many times. In this way, when uncooked rice is cooked, the relationship between the two people will be finalized. His behavior also constituted the harassment of Feng Tao, which made Feng Tao fall into the desperate situation of pursuers before and traps after. In the novel, Guo Rui is not a noble young farmer. He is a far cry from Wang Yusheng in Zhao Shuli's novel Three Mile Bay, and he can't be compared with Gao Jialin who was wrongfully left in life. Wang Yusheng, who is also a rural youth, is a saint in the countryside. His selflessness and ingenuity are all showing the noble character of young people in the new countryside. Wang Yusheng's look at his fiancee Fan Lingzhi is serious, noble, pure and happy. Gao Jialin looked at Liu Qiaozhen with admiration and kindness in his eyes; Compared with them, Guo Rui's vulgar tastes are like dirt to Gao Jialin peaches and Wang Yusheng watermelons.
Young farmers are born at the wrong time.
After 30 years, farmers have been pushed back to the edge and neglected, and the situation in rural areas has deteriorated, stinking, and farmers have become ugly again. Therefore, Guo Rui and Wang Yusheng are not comparable, nor can he be compared with Xiao erhei, the superior leader of Wang Yusheng. In social status, Xiao erhei is ten million times higher than Guo Rui. Xiao erhei's status is distinguished-he is the captain of the militia and a talented young man. He is very authoritative in the village. He speaks firmly and walks straight. He feels that he is the master of this land and the master of the novel-his father Xiao Zhuge and Xiao Qin Ma San Xian Gu. Although they are your elders, when they stand in front of Xiao erhei, a revolutionary young man, they can't help but feel helpless-in front of the hot air of "revolution", everything is traditional. On the contrary, Guo Rui is a humble countryman who has to explain his surname to others again and again. As for his own identity, it is even less clear: a dirty farmer? Wage earners? Porter. Unemployment? Hit someone? Bitch whore? Or the boss of (Guo Long) company? A liar? The ambiguity of Guo Rui's identity implies the sudden disappearance of a once brilliant peasant class-this is really a puzzling event. Contemporary literature is aphasia here, so writers can't see this missing clan and can't understand the "Xixia Kingdom" in this new era. How it appeared and how it suddenly disappeared requires writers to study it deeply. However, in this era of chasing bloody events, writers have begun to develop into fashion. They chewed a little, spit out the disgusting chewing gum one by one, and then got lost in the happy hall.
When a person loses his identity, he will feel uneasy. A society has lost a huge clan, and everyone feels at ease.
Take a rabbit as a screw, then he is a screw without a screw hole. This screw was thrown on the ground by the creator-laborer, kicked around, moldy and rusty, and finally, it was gently swept away by the cleaner and dumped into the garbage dump-in his place, it was the garbage of life and the garbage of history.
We can see that a series of farmers' images behind Xiao erhei are completely different from Guo Rui's: Zhang Yumin and Cheng Ren, the progressive farmers in Ding Ling's The Sun Shines on the Sanggan River; Zhao Yulin and Guo Quanhai, the revolutionary masses in Zhou Libo's Storm; and Sanliwan, the outstanding young people in Great Changes in the Countryside. Zhu Laozhong, a revolutionary elder in Liang Bin's Red Flag, Li Shuangshuang, an affectionate woman in Lee Joon's Biography of Li Shuangshuang, Xiao Changchun, a great man from a bolt from the blue, and the great God of King Kong on the Cotai Strip are tall and thousand. ...
The above-mentioned farmers' images are very distinct in their personal identities. They are not only masters of land, society and country, but also symbols of progress, future, light and revolution. They are in the mainstream position in the national class, and their words have unshakable authority: sowing, harvesting, rice, potatoes, farmland, pigs, cattle and sheep, chickens, ducks and geese, farmers, farm labourers, landlords, rich peasants, overthrow, support, production and self-reliance, making them the most fashionable and popular words. These farmers are upright, healthy, motivated and hateful people, and they constitute the most advanced, top-level and powerful new "noble" group in this country. The peasant class and the working class are the core parts of the ideological composition, and their every move seems to dominate the fate and future of the country. In their mouth, only by using the expression logic of "progress-backwardness", "revolution-reaction" and "high tide-low tide" with opposite parts of speech, can they speak freely; Once they leave this context, they will be tongue-tied, tongue-tied and unable to say a word.
In the works of these new "noble" writers, such as Zhao Shuli, Ding Ling, Zhou Libo, Liu Qing and Hao Ran, the vast number of newly rich people live a healthy and progressive life, with rich and vivid contents, far exceeding the dull and boring world in cities at the same time. The countryside is the core of material production, but the means of subsistence of the newly rich are very poor. Of course, this can't hide their revolutionary optimism-happiness is relative, and at the feet of the newly rich, they are firmly stepping on five malnourished bodies. Cities are consumption centers, but the living materials are richer than those in rural areas. Capitalists, small and medium-sized capitalists and reactionary comprador, although once prominent, lived a miserable life in Xinmin era.
Farmers in that era were full of vitality and ideals. They don't need much material and living materials, so they can live a delicious life-they are busy plowing in spring and harvesting in autumn, holding meetings and writing reports, criticizing backward elements and praising advanced figures. In short, it is substantial-spiritual enrichment, which offsets the unhappiness caused by material poverty. At that time, once rich people, whether urban or rural, had to be human with their tails between their legs. The poor are in high spirits, and every day is like a festival. Poverty was not a shame at that time, but a capital worth showing off.
In Zhao Shuli's novel Sanliwan, which reflects the process of cooperation, we can see the change of farmers' identity and status: farmers are no longer farmers, but "members" of the commune. From the literal level and social level, everything in rural areas began to be on an equal footing with cities: "commune" corresponds to "factory" and "members" equals "workers". In social status, rural members and factory workers are on an equal footing, and there is a parallel relationship between rural areas and cities: workers' masters are paid, and members' comrades are paid centimeters. In this way, the differences between urban and rural areas have been smoothly smoothed out, and the urban and rural world has achieved a pattern of great harmony.
Since everyone is a member of the national collective and has equal status, the peasant brothers can also live with dignity, and the days are getting more and more exciting. On the semantic level, leading cadres are even below them, because cadres are "public servants" and serve the people. The most important members of the people are farmers and workers. Farmers and workers are like the right-hand man of this society. No one can live without anyone, and they can be transformed into each other when necessary. At this time, the relationship between farmers and workers was brotherly.