Mongolians and Han Chinese can't bear to leave each other, and the blue grass at the end of the world speaks of the slanting sun. From Lao She's "Grassland" meaning: the deep friendship between the Mongolian and Han Chinese people, how can we bear to separate immediately! We are on the boundless prairie, facing the slanting sun, talking to each other about their feelings of farewell.
Lao She, the author's original name is Shu Qingchun, the word sheyu, modern famous writer, 1899 ~ 1966, Manchu people, pen name Lao She.
Expanded profile:
The whole poem:
The host is a good host and he catches the goat in his hand, and the milky wine and ghee are colorful and fragrant. The first thing you need to do is to get your hands dirty. The old man is still singing the song of the year, the young man is newly dressed for the times, the deep love of Mongolia and Han can not bear to say goodbye, the end of the world, the blue grass to talk about the slanting sun.
Meaning:
The people of the two ethnic groups of Mongolia and China have a deep friendship and live in harmony; at the time of parting, **** with the grassland under the setting sun to talk about, can not bear to part.
Deep meaning: the deep love of Mongolia and Han people can not bear to part, the end of the day, the blue grass to talk about the slanting sun." In this sentence, there are many places where "borrowing" is used to expect the evening. The meaning of these borrowings is complete and profound.
The mood depicted in this sentence: Since ancient times, Mongolia and the Han people have been good friends. Our gathering here today is not only a gathering of friends, but also a testimony to the friendship of the two peoples. As the sun sets over this boundless prairie, I hope our friendship will last forever.
This aftertaste of close-ups and "Mongolia and Han Dynasty" of the purpose of the whole article closely together, received a reveal the purpose of the theme, deepen the effect of the meaning.
Lao She's style of work:
1. Subject matter
Lao She's works are mostly based on the life of the citizens. He was good at depicting the lives and destinies of the urban poor, and was especially good at portraying the conservative and backward middle and lower class citizens who were steeped in feudal patriarchal concepts, in the midst of national contradictions and class struggles, and under the impact of the new tide of history.
The ambivalence of fear, hesitation and loneliness, and the ridiculous behavior of being at a loss as to what to do. He likes to reflect the universal social conflicts through daily ordinary scenes, and his strokes often extend to the excavation of the national spirit or the thinking of the national destiny, so that people can savor the grimness and heaviness of life amidst the lightness and wit.
The colorful rendering of natural scenery and the detailed description of customs and human feelings add to the life atmosphere and interest of the works.
In the history of modern literature, Lao She's name is always closely associated with civic and Beijing themes. He is an outstanding painter of customs and worldly conditions (especially those of Beijing) in modern Chinese literature.
As a great man, his reflection of social reality may not be broad enough, but within the scope of his depictions, he combined and condensed history and reality, from the natural scenery of the four seasons of the year, the social atmosphere of different eras, customs and habits,
all the way to the joys and sorrows of the three religions and nine streams of various people, and the subtleties of their mentality, in a colorful, vivid and lively way, making a complete and full-fledged "Beijing flavor" of his own. The world of "Beijing flavor" is full of richness. This is a special contribution made by Lao She in the history of modern literature.
Another characteristic of Lao She's works is that they show a clear anti-imperialist and patriotic theme. Lao She's works often directly expose the crimes of imperialist aggression and depict from different sides the harm done to the Chinese people by their economic, cultural and religious infiltration and racial discrimination.
He expressed the national awakening and honored the national spirit, and at the same time attacked the foreign slaves who groveled in front of these invasions and infiltrations. 1960 was the sixtieth anniversary of the Boxer Uprising, so he wrote the play "The Fist of God," which reproduced the heroic scenes of the residents of Beijing's resistance to the Allied Forces of the Eight-Power Allied Forces.
2. Language style
Lao She's language is vulgar white exquisite, elegant and vulgar **** appreciation. Lao She said, "There is no master of language and art that is detached from the masses, and there is no such master that records the language of the people without processing it." Therefore, the language of the characters in the work is refined Beijing vernacular. The "vulgarity" of the language of his works is based on careful thought and research.
His "whiteness" makes it easy for readers to understand and yet has a lot of depth. To respond to the times and life with common, plain words is the realm of Lao She as a master of language, which can be described as "clear water out of hibiscus, naturally unadorned".
On the other hand, however, Lao She used the language to remove the roughness and randomness of the natural form, and refined it into gold, so that the modern Beijing spoken language shows its simplicity and delicacy as a piece of finely carved porcelain.
Laoshe's works also pursued humor, on the one hand, from the influence of Dickens and other British writers, on the other hand, also y imprinted with the "Beijing people's culture", forming a more embedded "Beijing flavor". Humor and wit are the overall style characteristics of Lao She's works.
He believed that: "the text to be lively and interesting, must use humor ...... Nympho dry, obscure, uninteresting, is the fatal wound of literature; humor will have a great importance." Therefore, Lao She's novels, plays, essays, etc. are also full of humor and fun color.
His works are full of his humor talent: he expressed the thought content of "thinking y" with the language of "speaking playfully", which is subtle and meaningful, and full of rich humor. From the launch of "Old Zhang's Philosophy", Lao She began to be known as a "humorist novelist".
Mr. Lao She was also a master of subtext, which is represented by "The Teahouse". Mr. Lao She was a master of the use of subtext, and his masterpiece is "The Teahouse", which enriches the meaning of language with its profound and subtle subtexts. The most classic example is the "battle of words" between Eunuch Pang and Qin Zhongyi in the first act.
The two men, one a favored slave of the Empress Dowager and the other an asset of the New Establishment, are polite on the surface when they meet unexpectedly, but in their bones they have a sharp edge. The Teahouse is full of lines like this one. It quotes but does not send, in order to mobilize people's interest and deep thought, chewing.
Laoshe's works have successfully utilized the vitality of Beijing's colloquial vocabulary, making the language of the works reveal a unique Beijing flavor, and the works are full of life atmosphere, local customs and folklore are real and touching.
At the same time, he writes about Beijingers in authentic Beijing dialect, which is native, lively, interesting, simple and natural, and has a unique charm, revealing the charm of Beijing dialect, showing the lively vitality of Beijing dialect and Lao She's ability to master the Beijing dialect.
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