-The artistic expression of Jiang Yang's prose "The Three of us"

It is generally believed that Jiang Yang's prose is straightforward and lacks artistic skills. However, in The Three of us, he used artistic techniques such as the combination of reality and fiction, clever suspense, background interspersed, and detailed description, which has a strong artistic appeal. Jiang Yang is known as "an outstanding female essayist in Chinese mainland in recent decades", and The Three of us is the pinnacle of her prose creation. The Three of us is a documentary, which mainly tells the story of our daughter Qian Yuan. However, the combination of reality and reality, suspense setting, background interlude, scene contrast, detail description and other expressions are various, which makes the works ups and downs and swaying. It not only creates a lonely and helpless artistic situation, but also creates a peaceful and relaxed living atmosphere, even the details in life.

It is generally believed that Jiang Yang's prose is straightforward and lacks artistic skills. However, in The Three of us, the artistic technique of combining reality and fiction is adopted. The first two novels are written in a dreamy way, and the third one is true, which makes the works have great artistic appeal. The specific performance is obvious and not obvious, obvious and not obvious. The second part is the empty writing of the whole article. This part uses the technique of seeing the virtual with the real, which is obvious and looming. This part uses two clues, light and dark. The bright line is the disappearance of Qian Zhongshu. Looking for Qian Zhongshu and visiting Qian Zhongshu are the clues that run through. The black line is about Qian Yuan's disease. The author cares about Qian Yuan and writes about Qian Yuan's illness through dreams at night, such as light dreams, heavy dreams, tired dreams, nightmares and painful dreams. And then told Qian Zhongshu about the dream during the visit. In this way, on the surface, it is to visit and write Qian Zhongshu, but what really stands out is Qian Yuan's character and situation. The light and shade interweave, and the real content shows the fictional content, while the real content is in a secondary position, which shows the pride of Yang Qian and his wife on their daughter's ability to "strengthen their parents and overcome their ancestors". At the same time, the author's sadness at the loss of his beloved daughter is also vividly displayed.

Zhang Jimian pointed out: "There is and there is nothing, movement and stillness, truth and falsehood, complexity and simplicity, concealment and manifestation, form and spirit, etc.". , all reflect the relationship between reality and emptiness. The existence, movement, truth, complexity, manifestation and form mentioned here mostly belong to the category of reality; Nothing, quietness, emptiness, simplicity, concealment and spirit are mostly classified as virtual phase. Literary works and even all works of art complement each other. " According to the above viewpoint, the description of events and scenes in the works is also the relationship between reality and reality. There are few descriptions of scenery in Jiang Yang's prose, but in The Three of us, the cold willow on the postal road is described five times, among which the description when she learned that her daughter had an incurable disease is the most representative. The author wrote: "I drag my tired steps back and forth on the ancient post road every day." When Yuan was in hospital, all the willows were bare. Now, the gloomy willow leaves have begun to turn yellow. I take my own shadow every day, step on the fallen leaves, and walk carefully step by step. " The author's imaginative arrangement of scenery is very clever, which makes us feel that willows are changing all year round. This year's cold willows can become green willows next year, but people can never be resurrected! Let us deeply understand the sad mood of an old man wandering alone, tired and helpless. Leaves on the ground, bare willows and lonely figures, in the face of this situation, think about the three of us, think about the happiness of the three of us, who can not add more pain and feel sad? The separation of the three of us makes me sad! This kind of "emptiness" makes us fall into a "real" place, which is more powerful than endless narration. It's really "silence is better than sound here" This kind of "virtual pen" sets off the author's bleak mood and makes the work more subtle and meaningful.

The Three of Us makes readers feel confused, scared and threatened. The emergence of this sense of doubt, panic and crisis mainly depends on the author's superb skills of setting suspense at different levels. This skill is mainly manifested in the second part. We know that in the second part, there are two lines of light and dark. The bright line is that Qian Zhongshu is missing. Look for Qian Zhongshu and visit him. The dark line is to write Qian Yuan's dream, mainly in the light. The setting of this open line adopts the method of setting suspense layer by layer.

At the beginning of the dream, Qian Zhongshu was playing with Qian Yuan. Suddenly, a phone call came in and asked Qian Zhongshu to go to the mountain for a meeting tomorrow morning. Sure enough, the next day, "a big black car" took Qian Zhongshu away, and I don't know where he went. Qian Zhongshu was picked up by the car. Who picked him up, what did he do and where did he go? We only know to go to the meeting, and we don't know anything else. The author is worried about anxiety, and the reader is even more uneasy. This is the first suspense set by the author. As soon as Qian Zhongshu called, Qian Yuan quickly recorded it in his notebook, and his mouth was still "hmm ... hmm ..." At this time, Qian Yuan should tell his parents where they were, but the author said that he couldn't understand Qian Yuan's gobbledygook, and Qian Yuan left in a hurry. This is the second suspense. The next day, Qian Yuan came back. Should I tell you where my father is? But the author is not interested in listening. The author is in such a hurry, why is he not interested in listening? This is the third suspense. When the author and Qian Yuan met Qian Zhongshu together and the truth was about to come out, the author said that this place was called "Ancient Post Road" (3), but he still didn't say where it was, which was the fourth suspense. So, what is Qian Zhongshu doing here? The author continues to set suspense. She skillfully borrowed the warning from the "inn", that is, "Don't ask what you don't know", and said nothing about it. This is the fifth suspense. Then on the boat, ask Qian Zhongshu where this place is and what meeting to hold. Why did you take the boat again? The author sewed it skillfully. She said that Qian Zhongshu's voice was very weak, and she complained intermittently: "They took me to a very high place, and then they took me down and turned a lot. I am too tired to open my eyes and dare not sleep. I heard the boat walking in the water. Is this a boat? " (5) the original parties themselves don't know! This is the sixth suspense. After that, the author visited Qian Zhongshu every day, and she didn't ask anything. She said, "I remember the warning from the post office. I dare not ask Zhong Shu any questions. I can only tell him what he missed, and I will tell Zhong Shu what I saw in my dream. " Therefore, under the guidance of layers of suspense, the reader walks into the situation set by the author with fear, doubt and anxiety. In this way, the work is fascinating and has a strong artistic effect. The use of background materials in this paper has eased the atmosphere, increased knowledge and added fun. In the tense atmosphere of Qian Zhongshu's disappearance and the author's anxious waiting for news, background materials such as the living habits of the three of us and the interesting things between the three of us were inserted. For example, "He goes to bed early and gets up early, I go to bed late and get up early, and A Yuan goes to bed late and gets up early", and for example, "Every time his father asks for leave due to illness, the child feels guilty and is afraid to stay at school, he is used to comforting his father:' The helmsman has thick ears, but our father can't be scared' ('Dad is the child')" ⑦ Let us see that kind of equality and intimacy. Another example is the background of Qian Yuanxiao. She often says: "I look at recipes, just like looking up three dictionaries for one word and three recipes for one dish." She carefully prepared various dishes for her parents. When she saw them eating, she said gratefully, "Thank you, Mom." "Thank you, Dad." The insertion of this background highlights Qian Yuan's filial piety and shows us Qian Yuan, who is rigorous in his studies. More interestingly, when I was studying in Oxford, the interaction between my classmates was to invite me to have afternoon tea. At this time, students were inserted and taught to make tea. "Let's heat the teapot first, and everyone will use a teaspoon of tea: one teaspoon for you, one teaspoon for me, one teaspoon for him and one teaspoon for the teapot. Four people use five spoonfuls of tea, and three people use four spoonfuls. Boiling water can be added repeatedly, and tea is always strong enough. "Pet-name ruby let us see the tea culture in China, which is rich in knowledge, makes people feel fresh and cordial, and also adds life interest to writing. In addition, the author's "guilt" of not doing housework wholeheartedly is inserted, which also gives us a certain understanding of the daily life of Jiang Yang and Qian Zhongshu. Balzac said: "The most obvious sign of talent is undoubtedly the ability to imagine. However, when all the endings are ready, all the plots are handled, and all the impossible things have been tried, the author firmly believes that only the details will constitute the value of the work. " Attending here, Balzac firmly believes that details will determine the success or failure of the work.

Among the three of us, the most prominent thing is the details used to express the mellow character. Write her "governor". Writing about her intelligence: When she was two and a half years old, she sat face to face with her little cousin and listened to her read Reading Pictures. Until the author bought her the book, "Yuanyuan immediately turned the book over and read it from beginning to end, word for word." It turns out that Yuanyuan sits opposite her little cousin and eavesdrops every day, and all she hears are inverted sentences; The author also wrote that the elder sister praised Yuan Yuan, "She only knew it at a glance and didn't need to review it all." My father also said that "never forgets anything" is a myth. Heavy emotion: Yuan Yuan cried when he heard grandpa say, "Move out, no grandpa hurts"; She stood beside my grandfather's seat and shed big tears, which soaked the lids of his linen trousers. Clever and sensible: I can't play with my mother when I see that she still has a big stack of class papers to correct. She "just stretched out a tender fist with a small tear mark and hit the class paper on airs." Once, a rich boy sent a big basket of white sand loquat, which melted in the mouth and was full of water, making her feel fragrant and round, but the author never ate it because of his stomach. The description of several details highlights roundness, wisdom, cleverness and loveliness. In addition, the description of the personality characteristics of Zhong Shu, Dad, Dad, Big Sister, Four Aunts and others is also very vivid and interesting. The author uses details to describe the priorities clearly and flexibly. The most outstanding thing is that the author is good at choosing typical details to make the description fresh and interesting. For example, the author describes the details of his father and chooses the way he cries, speaks and does things. Dad never cares whether the other person is pleasant or not. This is his usual style. "Dad sleeps all day. He occasionally gains something by reading in the middle of the night, so he wakes up the sword and teaches him what he has learned. He is really a lovely father like a child. The language is concise and vivid. In addition, Zhong Shu's excitement of making milk, black tea and bread for breakfast for the first time in his life, his helplessness in doing "bad things", his love of reading and playing word games, his reluctance to shake hands with "Ji Feng" (Chiang Kai-shek) and his nature of "borrowing delusions" are also very vivid, which shows us a little-known other side of him and gives us some insights.