In the 20s, the writings of the zhou zhou zhou had a great deal of power and quickly formed a great genre: “language of words”; 60 years later, the zhou zhou zhou zhou zhou zhou zhou zhou zhi zhou zhi zhi zhi zhi zhi zhi zhi zhi zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu zhu z here, i would like to quote from koji-kun in mr. Zhou:
It was as if a man who had been in beijing for a long time had suddenly taken the road to the western mountains, and the sound of a bird had made him know spring, a grass, a pond of water had made him love nature, the sound of a frog's water had made him know movement and quiet, and the sound of a gust and a fountain had made him know beauty. Then he returned to the city, and he hated the noise, and he hated the scoundrel between men, and he hated the unjust punishment and praise, and he hated the shackles of traditions for which there was no justification. Well, it's a wonderful trip, full of hidden travels with traitors。
Indeed, the chorus of writings is such a charm because it leads us from the “unusual place” to the “exulture world” with great kindness, nature and ingenuity, and in freedom, a sense, purity and enlightenment. It is clear that this essay, in writing and in the taste of it, does not resemble the traditional chinese essay pattern, which is based on his own personality and integrates the creation of western and central scripts. It is smaller than a man, adding to modern self-consciousness; compared to the west, reconciling the mood of love in the east; and in the japanese essay, it injects chinese idleness. Some call it “ilya of china” and zhou calls it “the paper of love”. It speaks of nature and meaning forever, and it is “artistic talk”。
The most important thing about this art is the author's heart. This is the result of the author's personality, intellectual knowledge and cultural mentality, which are available at some point in time. Only when the cultural mechanisms inherent in the author are in harmony with the external environment will there be an optimal creative environment。
For zhou zhou, who is deeply rooted in the culture of confucianism and who has given china a long history of fame, the era of despair and pursuit after the fall of the “four fours” in the twentieth century, and the fermentation of his classical, desolate, mysterious poetic factors, the fermentation of the fermenting atmosphere of the “dry fast”。
At this point in time, there is freedom of mind in spite of the sense of external oppression, and there is no “dry rain and fast” but there is still a calm moment, where his “renegade” and “renegade” dichotomy is delicately combined. He also “drinks a few words to make his heart so that he may be bored”; but it is more pleasant to drink bitter tea, read books, and be accompanied by the rain-like sound of the bells in the courtyard, and to meditate and think, “scribble”, “to find comfort in literature”。
Thus, during this period, in addition to continuing to write a number of social and cultural criticisms, he wrote a number of “fun” articles about life and art, such as tea in beijing, the gourmet in his home country, the bitter rain, tea, the occupant ship, etc., all of which are well known in modern literature。
It was the creation of this period that laid down his place in the history of modern chinese essays. Since then, with the dramatic changes in the times and the evolution of the minds of human beings, in the 1930s, in the face of an acute and complex struggle, the contradictions of road choices have made him even more depressed; in the 1940s, he failed to take up the post of hypocrite, for a complex reason, but there is one thing that he can be convinced that a chorus of deep-seated confucian culture cannot be kept under heavy stress。
In the above-mentioned cases, the harmony between the inherent cultural mechanisms and the external environment has broken down psychologically; the dynamism of the “renegade” has faded, and the fun of the “renegade” has changed, and the “dry fast” has become the “dry teat”. The spirit of art and the talent of the chorus will fade as their hearts fade。
During this period, the “read-and-read” form of essays was a significant part of its essays; the “articulate” form of essays was not only small in number but not as profound as it had been before. So i believe that the life and soul of the art, as a proselytist, belong only to the “hard rain fast” in the old beijing city of the 20s, without the disappointment and the bitterness of that time, without the twilight and the rain-like yangs of the “hard rain fast”, without which there would be no low-intensity art without the integration of the “renegade” with the “renegade” character and traditional chinese cultural psychology。
The beauty of this “challenging” is, first and foremost, that he starts from the “self” and talks on ordinary things. It is clear that, on the subject of aesthetics, zhou's proselytism is a combination of western “self-expression” and the “single spirit” of the country's unmistakable people。
The words he advocated were “the words of my heart”, “the words of my soul”, rather than “the words of others”. In his view, the “surprising” part of the essay was that the author left behind “a part of himself”。
It's all in his own mind, like tea in beijing, wild vegetables in his homeland, tea, wine, birds' sound, flies, ferocious boats, white trees, his first love, the disease of his daughter. He's all happy. It was said, therefore, that zhou's essay looked like a “catalogue of the auctioneer” from the book。
But what is amazing is that once these things are dyed through their ink, they change magic. It has been said that in zhou's mansion garden, “vegetable vegetables are more lovely than roses” and that “flies are sometimes more interesting than big topics like fate in the heavens and the earth”. Indeed, the most popular place to write the essays is the taste of its shadows, the taste of life and the joy of its heart。
On the road to life, a man who is not in the midst of great suffering, but who is also a man who has turned his back on himself, mocking himself as a man who likes to flip over, albeit not very well, so that he tastes sour and bitterly; and who, in addition to his complex readings, his mind piles up in his mind and gives him a variety of perspectives for his observation, so that zhou will be able to make a positive impression on the “real” of things. When you're positive, nature has a deep taste。
Speaking of moods, we see the classical, useless taste of beauty, and the traditional way of “fluencing pleasures”, in which the strong, natural, spicy and muscular marrows are shown to be the right-hand of the modern prose。
See: “drinking tea under a valet paper window, green tea in a spring, with a succulent porcelain tea, with two or three people, for half a day, is enough for a decade's dust dream” (drinking tea); “the taste of wine, just when drinking”, “if it is potion, it is a moment of mouth”. On his journey, he aspired to “in the fresh and clean, but still able to preserve the long-term fun of the old days” (jinnan road)。
In addition to what is necessary for daily use, there must be some useless games and enjoyments in life, such as the sun, the autumn river, the flowers, the rain, the smell of the fragrance, and so on. Those images are written by readers of traditional chinese culture, who can read them in a way that does not take them back。
Zhou's “challenges” are described in a manner that clearly combines the western body with china's small body. In the 20s, the western language, with its fascination, was certainly attractive to chinese proselytists who were seeking personal liberation. But in learning about it, zhou is the most spiritual, without imitation。
With his personality and talent, he has combined the western style of discourse, the chinese symphony, and the japanese ink, to form a system of narratives. Most of these “love papers” are based on knowledge as a “carrier” of thought and emotion, and he talks about it, and he talks about it, and he talks about it, about it, about it, about it, about it, about it, about it, about it, about it, about it, about it, about it, about it。
This way of describing is structured in such a way as to break the rigid order of the traditional essay and to create a natural rhythm such as the “soldier talk” and “scrambling”. It is written in writing, such as a cloud of idle clouds, which seems to be scattered and unsuspecting, while there is art and harmony in it. As i said, “it is as if it were coherent without a trace, as if it was scattered without a trace, as if it were a mirage, as if it were impossible to strike, as if it were to be read and heard”. We read zhou's essays, like sitting in a “dry fast” and listening to the free, interesting, gentle talk of the master。
The “challenges” of the chorus are not only a quest for zhang yong-young, but also a “silent landscape of nature”. The word “peace fades” has always been recognized as the aesthetic character of the human body. But if you read it in detail, you'll see that in this “peace fades”, it's both chinese and japanese. This “peace dilution”, which embraces “disturbed” and “suffering”, is the product of chorus, bitter self-adaptation and balance。
For any writer, complete absence, complete overstretched, is a mere illusion; what writers can achieve is a little leisure of the kind of “joy in pain”, “stealing in idleness”. It is wiser for zhou. He said: "the farmer who spends his days on the western mountains, and the sun falls dark, and the rivers change in colour, and if he rejoices, he is idle. As for the “big idleness” of death and death, it is nothing but an act of “precipitation” when there is no choice。
Indeed, as the farmer who worked so hard at the end of the day, “deeply in the mountains”, “deeply having a good time”, is a busy “smuggle of peace” and “smuggle of peace”, which is merely a psychological contradiction of self-adjustment and balance. He is, to say the least, frowning, smiling, talking, and hiding in the words of “smuggling with flowers”。
So, in its formulation, we see that zhou is very calm and resourceful in his handling of feelings and words。
The so-called calm, i. E. Dilution and moderation. For example, "the sickness of a son" and "the death of a son" , the author has no hard feelings about the tragedy of her beloved daughter, but its wording is so peaceful and calm. The words of "the garden of his home", the opening words, the home of his country are not special to him, meeting in the morning or in the morning, making him known, as old neighbours in the country, who are not relatives, and sometimes miss him later, but when the full text is read, they find no place in the author's discourse about wild vegetables without hiding the deep feelings of his family。
Even when he was writing about the three ones and eights tragedy, he was always trying to keep it flat, sharp and euphemismal, without making it impulsive and aggressive。
So-called smarts, they must refer to the subtlety of the face or to the use of sarcasm. For example, in the front door, the author described the warlord's squad as being in the right place, but deliberately said, “the army is doing me well”, “it's just the marshalls are terrible”, “don't know what a republic is, what a law”, denigrates the horse, means sarcasm, and uses a counter-logic inference, which seems more aggressive and profound than a positive attack. The death act, written in more humorous language, is harsh and gives people a sense of beauty and some gruesomeness。
Moreover, in word-processing, zhou is good at reconciling words, words, european languages, dialects, etc., into a “simplistic” and “silent” language style. So, the writings of zhou make people feel not only familiar with nature, but also delicious. It has been compared to a dragon's tea in lake west, hangzhou, “seeing nothing colourless, drinking in the mouth, a fragrance that is reminiscent”。
* excerpts taken from sutiya sam, current contemporary studies in china, beijing university press, 1993
