The Language Style of Lu Xun's Works Zhao Yanting Abstract: Lu Xun's works have the language style of conciseness, conciseness, frustration and aftertaste, and are masterpieces of China literature. This paper attempts to find out the reasons for the formation of Lu Xun's unique language style through the language analysis of Lu Xun's works, so as to see how the classical writers' works are transformed from classical Chinese to vernacular Chinese, and try to inspire the popularization and application of vernacular Chinese to such a thinking today. How to enrich it and develop it? Keywords: vernacular language style of Lu Xun's works. Lu Xun is not only a great writer, thinker and revolutionary, but also an outstanding master of modern language. His language is accurate, concise and extremely rich, so it is flexible enough to properly express the rhythm of various thoughts and emotions, which makes his writing full of charm and charm. This paper mainly uses function words. This paper examines the language style of Lu Xun's works from the aspects of classical Chinese sentence patterns and vocabulary use. The extensive use of function words helps to express profound and tortuous meanings, and the clever use of function words can simplify the complex and has unique charm. For example, 1. I saw her crying just now, because she cares about the future of her alma mater, as if she had never seen her again. As for the word "if you don't need it", the sequel of Gai Hua in memory of Liu Hezhen. It doesn't matter. But the word "crying sadly" can't express the dynamic of "crying sadly at last", and this dynamic just reproduces Mr. Liu Hezhen's emotional process, which is really touching. "I haven't seen you since" is a common and natural expression. However, Mr. Lu Xun is here to mourn Mr. Liu Hezhen, remembering the past hard, and using such empty words as "seems" and "just" is so serious! The word "seems" conveys the message that Mr. Liu Hezhen didn't leave a deep impression on him. Maybe he didn't see it, maybe he saw it, but he didn't notice it. This especially shows that Mr Liu Hezhen is quiet and extraordinary. If you don't use function words to express the same meaning, not only are there too many words, but the writing style is not compact enough, which makes it look "thin". Of course, this kind of affection can't be locked. On the other hand, this book is still meaningful. The extensive use of function words is a major feature of Lu Xun's works, and many people can recognize his works by it. Some people think that his works are not smooth. But in fact, Mr. Lu Xun's extensive use of function words is precisely the inevitable result of striving for accuracy and conciseness, and also makes the context uninterrupted. A steady downward trend with rhythm and urgency is an important means. "Or not meaningless" seems to be similar to "maybe a little meaningful", but the former contains more fatigue, helplessness and persistent hope. Just as the author said, "despair is illusory, just like hope", it exhausted a vicissitudes of life and a weak but firm persistence. This is related to the unique effect of double negation, which we will talk about below. Never turned into a cold, hard and brilliant snowflake. Knowledgeable people think that he is monotonous, and he himself thinks that "... Lu Xun is a general in the vernacular movement, but he does not exclude the reference of classical Chinese, which makes his writing more brilliant. 4. He insisted, "Huh? "Just because his skin is not white, his nose is not high, and there are many words of" virtue "in one sentence, it is my generation in China today, which is criticized by future generations. At the end of this sentence, Mr. Lu Xun specially arranged to ridicule those who used a lot of "de" in one sentence. This is not only sharp, but also the reason why his words are concise. This is the result of Lu Xun's free use of function words. Second, when the classical Chinese syntax and the movement of using archaic words began, it faced great language desolation. Future generations may think that things were just written down at that time. In fact, it is extremely difficult, as Lu Xun said at that time: "Today's writers, philosophers, political commentators and all ordinary people, if they want to express the existing new relations, new phenomena, new things and new ideas in China society, almost everyone should be Cang Xie. In other words, they should create new words every day. New grammar. This is the requirement of real life. " (Two Hearts: Communication in Translation) Mr. Zou Tian pointed out that the language of the May 4th novel and the traditional language are two completely different novel languages. The significance of the May 4th novel is not that the vernacular is easy to understand and be accepted by readers, but that the traditional vernacular novel can do it and do it better, but that it has created an adapted version. Languages with different artistic functions and expressive force. Its appearance is the birth of a new literary language, marking the beginning of the modernization of novel language. In addition, the May 4th novel also achieved a change, that is, written language replaced oral language. Influenced by storytelling, traditional novels are more colloquial and easy to tell and understand. However, the language of the May 4th novel has its own content regulations, which must be more refined and subtle. The level is richer. It requires readers to sit at their desks and think carefully and chew their aftertaste carefully. [1] This change pointed out by Mr. Zou Tian forced the May 4th writers to make good language arrangements. When using his own unique language strategy, classical Chinese syntax and ancient Chinese vocabulary are the reserve forces of Lu Xun's language expression, because he "does not create adjectives that no one knows about himself". Therefore, in the case of unfavorable expression, it is better to borrow the language of the ancients. Some people think that Lu Xun's articles are "a mixture of classical Chinese", not to mention how to define this "mixture of classical Chinese". It is an inversion to use today's language norms to measure the language of the May 4th Movement, because our current language norms are the result of continuous language attempts by writers after the May 4th Movement. Not only do you not strive for a better tomorrow for the Chinese, but you also ignore the efforts of your predecessors and even accuse them of their struggle, which is really worth pondering! The following are some examples of the use of classical Chinese syntax in Lu Xun's works: 1 only in "In memory of Liu Hezhen Jun". I will deeply taste the dark sadness that does not belong to human beings. The noun "taste" is used flexibly as a verb. Using the economic word "deep taste" can attract the reader's attention to the back of the sentence "this is not the dark sadness of people", and the two words here are ". Make it the center of the sentence. This kind of saving pen and ink and adding more words sometimes makes sentences have a sense of rhythm, and monosyllabic words in classical Chinese help to realize this rhythm. 2. A real warrior dares to face the bleak life. The noun "face" is used flexibly as a verb to make the sentence compact. 3. One is a pistol, a servant, and the monosyllabic word "servant" used in classical Chinese. 4. Her name is the first time I saw it … "because …" Passive usage belongs to the classical Chinese structure. But it is also used from time to time in modern Chinese. This may be related to the use of modern writers. In The True Story of Ah Q, there is also a typical usage of classical Chinese: 5. There is nothing wrong with using "so why?" It's better than "Why? ".In Lu Xun's works, there is often the shadow of classical Chinese. Of course, the boundary between classical Chinese and vernacular Chinese has already been established. Function words are often used today. Let's give two more examples: 6. This great lyric poet, a Hungarian patriot, sacrificed 75 years on the spear point of Cosac soldiers for the motherland. It's sad to die, but it's even sadder that his poem is not dead. (Weed Hope) 7. The quintessence of the country has also been preserved; As for the quintessence of Chinese culture, so is my beard. (Talking about the beard on the grave) Mr. Lu Xun once said that when he couldn't find the right words, he would rather learn from the ancients, hoping that someone would always understand. This tendency is more prominent in the novel language. Of course, this style of novels pays more attention to artistry and is closely related to real life. Later, when I thought about it, I felt very ashamed. (Wandering and Mourning the Past) Feeling ashamed: Feeling ashamed. Song Sima Guang's "Deceiving an Official as Pang Xianggong": "Feeling ashamed and worried with the night. "[2] 2. I only feel that the saints of heaven and earth enjoyed sacrifices and cigarettes. Everyone in the world has no ambition. [3] They stumble: they wander, wander. They also write "trip". Fan Zi of the Five Dynasties once wrote "Gossip in Jade Hall": "I dreamed of an old monk squatting on the couch." [4] 3. His eyes are brighter. Aunt Bi Li Shu. "[5] 4." When it goes out, what I know is still there. "He suddenly smiled at Yinbi again, but immediately restrained himself ... (The ever-burning lamp) Yinbi: sinister and fierce. "Zi Tongzhi Han Jian Xuan Di Shenjue four years": "Yan Yannian to treat Yin Bi. It can be seen that if Luo Zhi is trained by "almost speaking" ... (Shouting Dragon Boat Festival), it should be handled like this. It used to be used for official documents at lower levels and at the same level. In the Ming dynasty, it was also used to order food. In Yu Yue's "Tea Room Congchao Qin Qin Zun", "There is a word" quasi-this "in this official document, which is used by superiors and subordinates. Ji Fang accused Ying Bu of sending troops, giving up the news, giving up the news ... Bu was taken aback. " [8] 7. Even if it is a bizarre essay in his mind now, I can't let him turn it into a bizarre essay in an instant. (Morning flowers and evening flowers are an introduction) Illusion: Change in words, change in words. Liezi Zhou Muwang: "... Know the illusion. Rebellion often has two meanings: (1) offending and disobedience. "Biography of Chen Fan" in the later Han Dynasty: "Those who are obedient will rise, while those who are contrary will slander. "2 unfilial. Ten thousand miscellaneous notes on the list of wise gods: "In March, I said that I should be filial to the people. I can hear wood chips in my ears. I am lonely. "Zuo Zhuan's sixteen years of mourning for the public" "I'm sorry to be an infant." [1 1] 10 (.Finally, I walked out of hell. (After Gai Huaji hits the wall) Out: (1) Buddhism calls nirvana. (2) I am still out of bounds. (3) I am out of bounds. Xie Yuan's "The West Chamber Palace Tune" Volume II: "Look together and see a scholar, leaving everyone." When writing, there are many methods that are appropriate. Just like the use of the word "leave", its uniqueness is impressive. Lu Xun also used several impressive words "great", and here is a quote from Mr. Li Ruishan: The author often uses such words in his poems: "great joy", "great sorrow" and "great pain" in Revenge (II); The "gathering fire" in the dead fire, especially the "ecstasy and joy", "great enlightenment", "great strategy, great network" and "great authority" in the lost hell. The word "big" used here mostly imitates the tone of ancient Chinese translation of Buddhist scriptures. (According to Weeds.000000000000006 However, it can also be said that the author likes this way of word formation and creatively applies it to prose poems to enhance the expressive force and emotional color of words. The author uses this when writing to himself, for example, in My Father, "When he dies in great peace and silence, we should listen to him slowly. Who dares to shout, who is all wet "; Thus expressing the author's anger, sadness and bitterness. A single word is familiar, but when combined with some words in a specific language environment, it becomes so vivid that it can accurately express the author's feelings. It seems monotonous, but in fact it is rich in meaning, which reflects the author's ability to temper language. In Weeds, there are many such rigorous syntactic structures and concise and vivid words. It was a great help. [13] The application of triple negation and the rhythm of Lu Xun's language. Lu Xun likes to say "no". Even when expressing "yes", he prefers to use double negation rather than an affirmation. The application of double negation effectively sets off the author's lonely and cold state of mind. When describing his mental journey, the effect is particularly obvious. Take a few examples from the preface of Scream: 1. There is no need to think that death is unfortunate. It's just that my own loneliness can't be banished. In my opinion, I don't think I am a eager person anymore. The use of double negation makes the sentence read less smoothly and seems to hinder good expression. What the author wants to express here is only a kind of heavy pain that he can't say clearly and has to say, and he is sad and unwilling to show others. This kind of pain is a paradox between the times and existence itself, and it is an unforgettable evil influence. This feeling is vividly expressed in this less fluent expression. Set obstacles in the process of writing, so that readers feel forced to pause again. The frustration of being denied and being denied again can simulate such a mentality, making it happen briefly and continuously in the reading process, and with the continuous emergence of double negation, this process is repeated and gradually intensified, and the effect of expression is becoming more and more obvious; It is precisely because of this unsmooth situation that readers gradually gain space for thinking and feeling during the continuous pause of reading. This kind of unsmooth is actually not only caused by double negation. The extensive use of function words mentioned above and the use of syntactic vocabulary in ancient Chinese make Lu Xun's articles lack the brilliance that makes people shine at the moment and the pleasure of reading them to the end. This kind of unsmooth is not due to insufficient efforts to refine words. But because of Lu Xun's strict requirements for the accuracy and conciseness of expression. Lu Xun's works are recognized as excellent works in China language, largely because he inherited the tradition of China language-although he was the in-depth director of the New Culture Movement-and his profound knowledge and keen artistic sense made his writing take into account the traditional reading habits of China readers, and the connection between the old and the new is the rhythm of writing. Zhou Zuoren once mentioned in The Origin of China's New Literature that China people are natives. In the intellectual class, it is also manifested in the rhythm of writing, the rhythm of writing, the rhythm of language, the rhythm of emotion and the rhythm of thinking. The flow of rhythm can easily make people enter a dynamic game state and make writing and reading interesting. The rhythm of emotion and thinking has a great relationship with the conception of the article, and also with the author's thoughts and emotional tendencies. The rhythm of the language itself is determined by the author's difficulty in using the language. Here are a few examples to briefly talk about the rhythm of language in Lu Xun's works: 1. I often think that unsatisfactory things are unsatisfactory, but they are always just right, so I am afraid that this is also the case. (Wandering Blessing) "Not as good as expected" and "not as good as expected" It makes this complicated expression look pleasing to the eye and less annoying. 2. Therefore, every fashionable woman's air is flamboyant and persistent, and she also resists it in Luo Zhi. Like all relatives of the opposite sex and all enemies of the opposite sex, she likes and is angry. (Shanghai Girl) The alternate use of parallelism and contrast makes this contradiction extremely strong. If you want to convince a man who eats people, you should start with him. (Diary of a Screaming Madman) "Start" and "Start" have a sense of rhythm because they are relative words. However, I don't want them to live as hard as I do, and I don't want them to live as hard as others. (Hometown) "In Lu Xun's works, repetition has been fully developed" [14]. Mr. Wang fully discussed this issue in the article Repetition as a Rhetoric in Lu Xun's Works. In the present environment, people are too busy with life to read novels, which is naturally a major reason for the proliferation of short stories. Just for a moment, we can still know a little about the whole leopard. I know all the styles, authors, people, events and events I write, and I have gained a lot. The underlined sentences are compact and elegant in classical Chinese, but they are slow before and after the sentences. This way, which is almost gradually from vernacular Chinese to classical Chinese, and from classical Chinese to vernacular Chinese, makes the wording of the article slow and urgent, easier to remember and more concise than vernacular Chinese. I think it is the key that his article can properly express his feelings and thoughts. The application of function words, classical Chinese syntax and vocabulary mentioned above, as well as the application of double negation, also serve the perfection of this rhythm. Although not everyone loves Lu Xun's works, they are unique, fresh, rich and memorable, which is the pride of China language. Lu Xun's integration of depth, sensitivity, breadth and love into language has opened up a new and beautiful language space for future generations, which is the pride of China people. Whether this spirit can be passed down is of great significance to the construction of Chinese in China. [1] Note "Lu Xun and the May 4th Novel", the first edition of "Zou Tian and China Modern Literature", Jiangsu Education Press, 1998, p. 97. [2] Great Chinese Dictionary Publishing House, 1990 (the same below), Volume VII, p. 664, is "ashamed". [3] The Chinese Dictionary, Volume 6, p. 1462, the fifth meaning of "Xin". [5] The article "Pi Yi" on page 486 of Volume 10 of The Chinese Dictionary is the first meaning. [6] The Chinese Dictionary, Volume 11, page 1038, the article "Sound density". [7] "Chinese Dictionary", Volume II, Page 427, "Quasi-version". The first meaning. [10] The Great Chinese Dictionary, Volume 7, Page 432, "Disobedient". [1 1] The Chinese Dictionary, Volume VII, Page 20 1 "Arrogance". [Tianjin People's Publishing House, June 1982, pp. 250,251. [14] Wang, The Origin of Rhetoric, Guangdong Higher Education Press, September 2000, p. 392. Reference: On Zou Tian and China's Modern Literature, Jiangsu Education Press, 1998. Chinese dictionary publishing house, 1990. On Luxun's Creative Art, Tianjin People's Publishing House, 1982. Wang Rhetoric, Guangdong Higher Education Press, September 2000. The language style of lu xun's works.