In Jia Pingwa's recent works, Shaanxi Opera is a novel that is almost unanimously praised by critics. In terms of content, I basically agree with some scholars that it is a novel about the fragmentation of land, the end of poetic land history, the return to the origin of life, the torrent of details and exquisite language, but I think it is a good novel.

"Shaanxi Opera" has really changed the author's poetic attitude of love, nostalgia, contradiction and sigh for this land reflected in Jia Pingwa's previous Qinchuan novels, and described the decline trend of this land under the impact of so-called modernization with a neutral, noncommittal and submerged mentality. At the end of the work, the death of Xia Tianyi, the spokesman of Qingfeng Street, and the "white sign" in front of his grave can fully explain that the author can't judge the sad mentality of this broken land. But what I want to say is that this turning point is caused by the turning point of the times and the transformation of society. In the face of such a transformation, China intellectuals have basically lost their ability to grasp the reality as a whole, so it is normal to avoid evaluation only as a result of "literature is a reflection of reality". Tell the truth and read the work carefully. You can really read Jia Pingwa's "Bitterness and Chaos" from the novel, but "Bitterness and Chaos" is what everyone who loves the land may feel when facing today's land fragmentation. What else can the author tell us?

The change brought by the change of reality to everyone is not the same as the "change" of the writer's artistic creation, because the latter is not restricted by the change of reality, but only by his own discovery, experience and understanding, and has relative independence. If Jia Pingwa has made great creation in art, then we will take the changes brought by the changes of the times and society to the writers. Confused with the writer's efforts to break through the shackles of the times. In my literary view, because art and reality are two different worlds, a writer can paint a prosperous and poetic rural scene through his own unique understanding, or write another poem tree for the countryside that is losing its poetry in reality. Because of the original function of artistic thinking, we should completely break through the feelings and general cultural understanding of most people in our time and give people inspiration by building another world. Therefore, in today's Qingfeng Street, the Shaanxi opera can become a wail, the literati can give up their responsibilities and escape, the protagonist can pervert and castrate their genitals, rural cadres can indulge in money transactions, and rural youth can go to cities to work in large numbers. The contracting and leasing market may be chaotic ... Although these have also been screened by writers, it can only show that our rural areas, which used to be purely agricultural, are declining, but it cannot show the decline of the artistic world of writing Qingfeng Street, nor should it affect the ability and passion of writers in artistic creation-these contents of rural life today can be used as "materials" to participate in the structure of Jia Pingwa's artistic world. Play a different meaning from reality. Therefore, there is no difference between writing about rural prosperity and writing about rural depression and decline. The key lies in how writers establish their literary understanding of "prosperity" and "decline". Fundamentally speaking, the joyful mood generated by rural prosperity is not superior to the heavy mood generated by rural decline and depression. Everyone must wait for the writer's understanding to give it a "different meaning". Even a "paper full of bitter tears" must be filtered by the writer's creative thinking. Otherwise, no matter what kind of emotional expression, its literary value is limited.

This involves the structure of the novel. If Jia Pingwa failed to break through the overall consideration of land with the concepts of "Tao" and "Zen" in the early days, then this defect is unlikely to be made up by "Qin Opera" at once. It can be said that "Shaanxi Opera" is a reduction of the decline of contemporary rural poetry in China, but this reduction only "uncovers" the conceptual writing of rural themes by China writers in the past. It is not impossible to construct a novel with the mixed flow of life itself, but only when this "boring day has passed" presents some philosophical significance similar to Proust's "Remembering Things Past" can "trivial days" become a new creative method and artistic form. At that time, such a "life structure" can tell us that it is not limited to the artistic inspiration of Jia Pingwa's Bitterness and Chaos, because ". But what is behind "bitterness and chaos" is artistic significance. Therefore, the reason why art is not a "miracle in daily life" (see Jia Pingwa's Dialogue with Xie Youshun, p. 153, Suzhou University Press, 2003) is that both a single real life and a rich real life can write good works, as well as works lacking spiritual direction and ideological enlightenment. The key lies in the writer's "how to understand singleness and richness", but he can't be satisfied with the reality of singleness and richness. So when Jia Pingwa said that he wrote "Shaanxi Opera" to "erect a monument for his hometown", I would like to add that even if this monument is erected, it will only be for his hometown.