Yang soo's essay art feature
Yang soo is essentially a poet. Early research into classical poetry and the creation of poetry of passion is his most true and natural appearance and appearance of personality and temperament. He himself was pleased, "i should be a poet!" but the revolutionary war pushed him to novels and communications. In the first three stages of his creation, he has been cross-cutting and writing these two texts, essentially inhibiting his “poetry spirit”. From the beginning of the writing of articles such as the chanshan red leaf, he found his own poems, and produced an unreceivably poetic essay, which brought the author and work, for human beings and for humans, and for human beings and styles in a relatively uniform way, bringing his creation to a new height。
The distinctive contribution of yang soo's essay lies in the creation of a yang soo-style “poetry essay”. For the first time, he explicitly put forward the artistic idea of “poetry as a word”, which is unique in the essay. And he said, "good essay is a poem," and, "i always write every article with it as a poem, and i'm often looking for the meaning of poetry." “i don't think i'm writing in writing, so i can write ink, like a poem, trim the material, arrange the layout, push the text, then write it into an article.” this is not just his courageous declaration in the patrimony! The hymn, which has always been a “right talk”, the “right talk”, the “right talk”, is nothing more than a “love letter of love”; the modern hymns, though they have written a number of well-connected works, are rather focused on semantics and hammers, and begin to fill up his poetry, but he has not made any clear artistic claims or applied them to all his works. Unlike yang soo, he tried to be new, boldly followed his own path, unveiled the banner “to write as a poem” and demonstrated its viability and success with his rich artistic practices — a place that he was more intelligent and new than his predecessors。
The most distinct artistic feature of yang soo's essay is its beauty and poetry。
He's the man who makes the land. The scenery, the conversation, the landscape, the atmosphere, the fact that only a few of his fine white sketches can make all the difference. As in "the city of the sea", he wrote a strange sea vision, and wrote a mirage of a mirage, with a sense of a fair wind; in "the top of the mountains", he wrote that the mountains were “fruitful”, and that "i" was the colours of the colours “deepness to flow down," under his pen, and that "the whole mountain river was rising" ; in "the snow waves, the girls were playing by the sea, watching the waves hit the rocks, and "the old tarzan" was a place where the great words of "the old tarzan" were used to solve the doubts, and it was very difficult to see "i'm" in "i'm" groaning on the far side, where the peasants of the country were falling in the water fields, and the images were so wide and so quiet, and it was amazing that there were all the great pieces of the yang's novel, and so many of the great art, and it was often a success. In the contemporary author's home, it seems hard to find an author like him who has the strength to create a “world”。
Because his essays are “written as poetry”, they are quite naturally poetic. This "poetry" is essentially the whole idea of the work. As in "thai's top", the twin-gauge of "an amazing green mountain water painting" runs through the thread, and as it “shows out the best part of the scrolls”, the text suddenly falls, and the theme “we see another brighter sunrise”, the tails of which are round and round, all of which fills the mind with a luminous poignant verse; in “chatflowers”, a phrase “crowds on the face of the child” is like a poem, which opens the “chamber” to the “hardness” of the homeland, and the “old guide” to the whole poems; and in “juri's" she finally communicates with one another, and in the symbol of a “sweetness,” the “sweetness of japan,” the “swealth of the man,” and “sweet of the people.” others, like a bee, a mountain of ants, a gem, a little lamp, a wave of flowers, a beam of the moon, a crane head, a spring of water, are also coloured by the poem. He said, “what is it that it is not poetry that in your struggles, in your labors, there are things that touch your heart, so that you exult, so that you rejoice, so that you grieve, so that you reflect? I'm going to think again and again about everything that happens to me, and then i'm going to come up with ideas in my articles. As yang soo has always looked for "poetry" in his life: once he's touched, he ponders the "substantial" in his mind, and uses his "poetry heart like fire" as his aerobics, the cosmopolitans, and turns it into a poem, a border, so that naturally, "the essay is a good poem,"
In addition to the above-mentioned characteristics, yang soo's essays have been written in three folds and are well organized. His article, which talks about “starters”, tends to start with “starters” and rises at a remarkable pace; then he falls and turns back and turns back, to the best of his ability to “turns” in order to take advantage of the “twirl-throughs”; and, finally, many of his words are “shows of the charter”, so that there is a sudden rise in awareness and a shift towards a new meaning, from a “point” to an implicit pen. His hard work makes his proficient work resembles the finely trimmed blanche art。
In addition, his pronunciation is fresh and elegant. He is used to novels, so that “spoken” is the background of his articles; he is well-versed in classical and foreign languages, and thus occasionally emboldened in elegant writings. In this way, he has developed a special language style in which his work is readable and durable。
But yang soo's essay also has obvious shortcomings. We can recognize it at a higher aesthetic level. In addition to what is often said to be “poetry”, his essays are, in fact, both communicative and novelist. This is not separate from him by writing correspondence, novels (and for such a long time). The art essays are mostly reminiscent of the past (or “reminiscent” and “realty”), but yang soo's essays are rather “realistic”, not “reminiscent” but “freshinging” and a shadow of new unsettled life. This was the case for the earlier newspaper spring flowers by the philpool, oil city, and later for the shan red leaf, snow wave. While this aspect enhances the reality of the art essay and keeps it “new” in line with life (which is very valuable and a great advantage of yang soo's essay), it leaves a trail of reporting. As in sea city, it is felt to be a story of the great changes that have taken place on long mountain island. Snow wave, it's always felt like writing about old tarzan's feelings. In this way, the objectivity of the article would crush subjectivity and “it” or “he” would inevitably exclude “self”. This residual communication must not affect the full development of the artistic essay personality and feelings. The same is true of the trend towards novelty. The best example of snowflake is that it was the first time that cao cao commented on the work, saying it was a “good novel”. Other articles that depict people and tell stories like this include "red leaves of the shan", "faces of the sea", "home of the flowers", "sun of the yellow sea". Even in work like tea flowers, sings and sings, there are people like "the gentleman" and "the bing" (in fact, they're completely "been" and "fake"). The presence of more people and the use of dialogue were almost a feature of his essay. These, combined with poetry tendencies, deviate more and more from the inner trajectories of art essays. It can be said that yang soo's essay is unique, novel and creative, but it does not fully reflect and fully utilize the aesthetic qualities of the art essay. This is the result of communication: the existence of artificial energy in the work, which is the corollary of fictionalization; the heavyness and loss of “doing” in the sculpting of the article, which is the result of a poetic claim -- – it seems that he has paid a considerable price for his bold artistic exploration。
The essay, though close to the poem, is always a essay, not a poem. Writing the essay into a poem (the yang soo essay is in fact a “multisound” chorus, symphony) is not a straight path to the essay. But after all, yang was a big hand, so he largely grasped the “fire,” “measuring” of his work, and he was able to find a way out of it, and those who learned to follow it (which was not the “right path”), and “showing it to the east” did not, and yang was not responsible. As for the condemnation of yang soo's "decorative" — even more absurd — there is no “knower” nor “the world”. Evaluating such a talented, innovative, courageous and ethical artist should be more rigorous, scientific and realistic。
