Virtual writing

First, the definition of virtual writing

Virtual writing is a means of expression, as opposed to positive writing. Also known as virtual pen, it is a narrative and descriptive skill with virtual realism. It is similar to pause in music, blank in painting, empty lens in movies, still field in drama and so on. Virtual writing is a means of expression, which is often used in literary and artistic creation. In order to achieve unexpected results, especially in prose, poetry, classical literature, painting and so on. For example, "I didn't see him, I heard his voice first." "I'm not in this mountain. How can I tell, it's so cloudy?" And so on. Give a person a kind of artistic conception.

In imaginary writing, although the author exaggerates some characters, he does not let them appear, but only makes readers feel their existence, thus affecting the fate or outcome of the characters present. For example, Ba Jin in Cao Yu's drama Sunrise and Yu Xia in Lu Xun's novel Medicine. "Virtual" refers to the virtual part in literary works, that is, the intangible or fictional part caused by the tangible or realistic part in literary creation. As a writing skill, virtual writing often provides readers with associative space through metaphor, exaggeration or symbol, thus achieving an inevitable virtual environment. Any literary work comes from truth, and truth is the reflection of real life in the author's pen. Because the truth in literary works permeates the author's experience and emotion of life, literary truth is a kind of reality and virtual realm higher than life imagination. The combination of emptiness and reality creates a strong artistic atmosphere in literary works.

Second, the role of virtual writing analysis case

1, Zhu Ziqing's imaginary writing in Moonlight on the Lotus Pond, with the help of artistic means, guides readers to produce inevitable associations, actively and consciously captures those unspeakable interests and lasting appeal, thus realizing the realm of "emptiness". "On the winding lotus pond, I am looking forward to the leaves of Tian Tian. The leaves are high out of the water, like an elegant dancer's skirt. Among the layers of leaves, some white flowers are scattered all over the floor, some bloom gracefully, and some bloom shyly: just like pearls, stars in the blue sky, and beautiful women who just came out of the bath. "

2. In the third episode of A Dream of Red Mansions, Lin Daiyu came to Jia's house and met her grandmother, two aunts, three sisters and Xifeng Wang. When I arrived at Jia's house, Jia said, "I'm in poor health these days. I'm sad to see the girls, so I can't bear to see them for the time being." I didn't see it in Jiafu because I "fasted."

According to the normal etiquette, Daiyu came to Jiafu to meet two uncles, but it is difficult to grasp the way of meeting so many people one by one, and the conversation with the two uncles will be very formal, which requires a lot of pen and ink to describe. Therefore, the author uses a fictional writing method to explain why she can't meet each other through the mouth of others, which avoids the difficulties in description and increases the ups and downs of the story, laying the groundwork for the real meeting later.

3. In the fifth episode of Romance of the Three Kingdoms, there is such a passage: Hua Xiong was brave, and he came to scold and beat, even beheading two generals, Yushe and Pan Feng. Yuan Shao, the leader of the alliance at that time, was surprised and sighed, "It's a pity that my generals Yan Liang and Wen Chou didn't arrive, so this one can behead Hua Xiong." Before the words were finished, the next person shouted out the sky: "The young man is willing to cut off Hua Xiong's head and give it to the account!" When people look at him, they see that his body is nine feet long and his beard is two feet long. He stood in front of the tent with a phoenix eye, a silkworm eyebrow, a face like a heavy jujube and a loud bell. Shao asked who Gongsun Zan was, and Gongsun Zan said, "This man is his brother Guan Yu." Shao asked, "Go ahead and shoot the horse." Yuan Shu shouted to the outside of the account: "Are you cheating our vassals without generals? Measure an archer, don't dare talk nonsense! Play with me! " Cao Cao stopped drinking and said, "Don't be impatient with Tao. Since this person is boastful, he must have courage; If you try to teach a horse, if it is invincible, it is not too late to blame. " Yuan Shao said, "If archers go to war, Hua Xiong will laugh." Cao Cao said, "This man looks good. Does Hua Xiong know that he is an archer? " Guan Yu said, "If you can't win, please behead a certain head." Cao Cao poured a cup of hot wine and got on the horse with Guan Yu. Guan Yu said, "Pour the wine and come as soon as you go." Pay the bill, carry the knife, Pegasus. When the vassals heard the drums outside the customs, they shouted loudly, as if the sky were to fall and the earth were to fall, and everyone was shocked. Just as he was about to snoop, the Luan bell rang and the horse arrived. Yunshang lifted Hua Xiong's head and threw it on the ground. -The wine is still hot. In this passage, the author also avoided reality. When describing the scene of Guan Yu's painful beheading in Hua Xiong, the author did not choose to describe positively how Guan Yu appeared in a heroic manner and how he fought fiercely with Hua Xiong. Instead, it only describes Hua Xiong's bravery and the roaring drums and deafening roar on the battlefield, as well as the images of many war generals in the military account who are anxious about Guan Yu's safety. When people were anxious, Guan Yu rode back to the village and brought Hua Xiong's head back to his account. The technique of fictional writing even enhanced the expressive force of Guan Yu's heroism, which made readers secretly exclaim.

4. Strange Tales from a Lonely Studio is a flesh-and-blood life created by Pu Songling by writing ghosts and demons, and it is an artistic world where reality and fiction coexist. The dream world created by Pu Songling is relative to the real world. Relying on nature, society and human inner world, it depicts the heterogeneous world that human beings do not have in reality, but it makes people feel that it really exists in reality. This artistic realm of asking the truth makes readers realize the agility of life in the universe and the profound philosophy of life.

5. The masterpiece "One Hundred Years of Solitude" that reproduces Latin American history is Garcia? The representative works of Má rquez's magical realism, through imagination and clever handling, combine reality and fantasy, and combine real writing with imaginary writing, presenting readers with a picture that is difficult to distinguish between true and false, enriching people's imagination and receiving strong artistic effects. For example, when writing about the silence of the night, people can actually hear "the cries of ants in the moonlight, the loud noise of moths eating and the persistent and clear screams of weeds growing".

6. There is such a classic music poem in Pipa: "Big strings hum like rain, and small strings whisper like secret words. Humming, whispering-and then mixing together, like pouring large and small pearls into a plate of jade. Between Guan Ying's words, the bottom of the flower is slippery, so you can't swallow the spring scenery and flow under the ice. The ice spring is cold and astringent, and the strings condense, and the condensation will never stop. The depth of sadness and the hiding of sadness are more told in silence than in voice. The silver bottle burst into the water, jumping out of the conflict and blow between armored horses and weapons. Before she put down the pick, her stroke was over, and all four strings made a sound, just like tearing silk. " Bai Juyi described the superb piano skills of the pipa girl by using unique imaginative writing techniques and a large number of wonderful and novel metaphors, which made readers deeply feel the desolation of her life experience through visualized music, and finally truly realized the loss and sadness of Bai Juyi's political attack and relegation.

7. Shang Mo Sang is a famous work in Han Yuefu, which belongs to the category of Xianghe Geci. It tells the story of Qin Luofu, a mulberry picking girl, who refused to flirt with "envoys" and praised her beauty and loyalty. In the first paragraph of the poem, the author spends a lot of time describing her beauty and the admiration of people around her, which is the most wonderful part of the poem. The first four sentences are "the sunrise is in the southeast corner, according to my Qin Shilou." Qin has a good daughter who calls herself Luo Fu. Talking from the big point to the small point, from the imaginary point to the real point, is a typical folk story-style opening remarks, and also laid the atmosphere of the whole poem: the bright sunshine shines on the beautiful attic, where beautiful women live and the colors are dazzling. Then Luo Fu came out. "Moss is a cage and cassia twig is a cage hook. There is a bun on the head and a bright moon in the ear. Xiangqi is the lower skirt and Zi Qi is the upper skirt. " Described Luo Fu's appearance from the front: carrying a mulberry basket with black silk as the winding rope and cassia twig as the handle, with a "Japanese pendant" tied on her head, shining and precious bright moon beads hanging by her ears, wearing a purple HongLing cotton-padded jacket on her upper body and an apricot-colored resumed front skirt on her lower body. The image of the whole person is vivid, bright and touching. According to common sense, poetry should continue to describe Luo Fu's figure and face, which is what readers expect. It's not easy to outline the beauty in my mind in words, so the author adopts the technique of imaginative writing, instead of directly describing this beautiful woman, she begins to describe the people around her who are impressed by Luo Fu's beauty, which not only indirectly confirms the beauty of the mulberry picking girl, but also increases the drama of the plot. The most important thing is to paint with a pen without ink.

8. Li Bai, a poet in the Tang Dynasty, is famous for being good at creating fictional scenes in his poems. Numbers play an important role in the application of virtual writing skills. Although the "48,000" in Shu Dao Nan is a real number, it implies a bigger imaginary number to describe the age. Li Bai is partial to "one", "three", "thousand" and "ten thousand" in numbers, which are mostly imaginary numbers in classical Chinese, meaning more. "A bright moon hangs high in the capital, and ten thousand hammers wash brushes." (Midnight Wu Ge) describes the scene of thinking of her husband and beating clothes in the bright moonlight in autumn, the season of preparing warm clothes and reuniting with her family. Similar poems include "Peach Blossom Pond is deeper than thousands of feet, not as good as Wang Lun", "Flying down three thousands of feet, suspecting that the Milky Way has fallen for nine days" and "White hair is three thousands of feet, and sorrow is as long as long". The use of imaginary numbers not only embodies the author Li Bai's aloof and wild personality, but also embodies the poet's grand and broad mind.

9. There is a song in "The West Chamber" and "Farewell Pavilion" that goes like this: "The sky is yellow, the west wind is tight, and the north flies south. Whoever is drunk in the frost forest at dawn always makes people cry." Yun Lan and Yellow Flower, which are closely related to the crisp autumn season, first laid a sad tone and atmosphere. "West Wind" and "Flying Wild Goose in the South" add to the coldness and solemnity, while "Blood Red Maple Grove" further exaggerates the sadness of parting, so how can it not make people cry? The author escapes from reality, creates an empty impression, and expresses his feelings of parting and sadness under the guise of describing the scenery, which is helpful for readers to understand the inner bitterness of the characters in the play.

10, Yang Shuo's "litchi honey" is a typical lyric prose. This kind of prose usually writes objective things first, and then writes scenery and lyricism, that is, it adopts the method of combining realism with fiction.

The full text of litchi honey is divided into five parts. In the first three parts, the author never liked bees before, and praised the nobility of bees with the author's initial goodwill and further understanding of bees. These are all realistic.

In the fourth part, Yang Shuo wrote: Through the litchi forest, I looked at the distant fields, where farmers were standing in the paddy fields, working hard to divide and transplant seedlings. They are building their own lives with labor, and they are actually brewing honey-for themselves, for others and for future generations. The author praises farmers, from real writing to imaginary writing, from praising bees to praising hardworking and noble farmers like bees and praising their dedication. This is the author's original intention. Part V: That night, I had a strange dream that I became a little bee. The author uses virtual writing to further deepen the meaning of the article and improve the level of artistic conception.

1 1. In Medicine, Lu Xun carefully portrayed three kinds of people related to Yu Xia's death through three scenes-Hua Laoshuan, Kang Dashu, tea drinker and Yu Xia's mother, but the central figure Yu Xia never appeared directly. Writing Yu Xia in vain is the author's careful design and arrangement for the whole play. Yu Xia didn't say a word from beginning to end, but Uncle Kang has always been a "shakedown" person, and people can always feel his existence, but he is silent, just close to the theme, and the revolutionaries are divorced from the masses, thus illustrating the result of the double tragedy of revolutionary spirit and reality.

The creation of "Medicine" adopts a typical writing style of combining reality with reality. Mr. Lu Xun realistically described the life tragedy of Hua Laoshuan's family, from Hua Laoshuan's husband and wife treating their son and buying blood steamed bread to Hua Xiaoshuan's death. However, Yu Xia's sacrifice for the revolution and his mourning by later generations used imaginative writing, which indirectly reflected the failure of the old democratic revolution.

In poetry or articles, imaginative writing has good rendering function and expressive force, and at the same time, it can leave enough imagination space for readers to make the articles more implicit.

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