Zhu Ziqing's prose is selected again and again for middle school and high school language textbooks.
Over the years, Zhu Ziqing's essays have been selected for the textbook, probably "Spring", "Green", "Haste", "Meiyu Pond", "Lotus Pond", "Back", "Venice" and so on. Modern writers, in addition to Lu Xun, Zhu Ziqing counts the most.
Secondary school textbooks more Zhu Ziqing, a consequence is that a bunch of high school education above the cultural people, a mention of the prose, on the mouths of all say "Lotus Pond".
Every time I listen to people talk about "Moonlight in a Lotus Pond", my heart will recall a sentence: poverty limits your imagination. This is the poverty of reading, as well as the poverty of aesthetics. I do not believe that if you read a few more present-day writers, you will still think Zhu Ziqing is good. And I read the entire catalog of the junior high school language book, on the gun of the teaching materials, can only lol.
I had an assertion that modern Chinese writers are divided into several levels. The first-rate Chinese, second-rate Chinese, third-rate Chinese, as well as not into the stream of points.
This is the first time I've seen a modern Chinese writer in the world.
Of course, there are reasons. This we should also understand. For example, the most important is the limitations of the times. Zhu Ziqing is the process of the transformation of the literary language to the vernacular, try to try the early one, although before Hu Shi has long had "put feet" of the "two yellow butterflies", but Zhu Ziqing is also considered a pioneer of vernacular literature. He was 18 years old when he was admitted to the preparatory course of Peking University in 1916, when the vernacular language movement was in full swing. Zhu Ziqing wrote poetry and essays in the vernacular, and published his first vernacular poem in 1919. So this should be recognized, like Guo Moruo, Lu Xun, at least as a pioneer, made a contribution.
But that's not all. Zhu Ziqing can't be considered excusable for his third-rate Chinese because of his early creation. Lu Xun earlier than him, "Diary of a Madman" was first published in 1918, but Lu Xun came out, the Chinese language on the ground, and Zhu Ziqing is not a level at all. The language of his later prose became more and more sophisticated, and I would describe Lu Xun's Chinese language as "I don't want to turn a hundred refined steels into soft fingers". The first-class Chinese language, when this is also.
Zhu Ziqing's vernacular language, stereotypes, mute, indiscriminate, but also very pretentious. Zhu Ziqing's biggest problem is not modern. His prose is basically a kind of feudal scholarly sentiment of the vernacular expression.
I'm serious. Sometimes I think meanly that his writing has a formula, which is just to translate ancient poems and texts into vernacular. And it's not even the particularly advanced kind of vernacular, it's the kind of second-rate vernacular that is characterized by certain racy discourse.
Try to take the most familiar "Spring" and "Moonlight in a Lotus Pond" in the secondary school textbook as an example to analyze.
The essay "Spring" is actually a translation and expansion of the poem by monk Zhinan. Monk Zhinan's poem is like this: "Tied a short tent in the shade of an ancient tree, the staff quinoa to help me cross the bridge east. The first time I saw this, I was in the middle of the bridge, and I was in the middle of the bridge, and I was in the middle of the bridge, and I was in the middle of the bridge.
Well, the spring of this essay, the main part of the spring wind and rain, from the structure, imagery, mood, emotion, is nothing more than a copy of the monk Zhinan, but the monk Zhinan first write rain, then write the wind; and Zhu Ziqing first write the wind, then write the rain.
I have evidence. The fifth paragraph of "Spring", you read, the whole paragraph is the "blowing face is not cold willow wind" sentence of the spread. The so-called "spread" is not only translated into the vernacular, but also in accordance with the meaning of this, and then to expand. From the imagery, soil, grass, birdsong, piccolo, each of which can be obtained from the Tang and Song poets from the prototype. If I didn't tell you that Zhu Ziqing lived in the 20th century, you'd probably think that he would have written, "The mud melts the swallows, the sand warms the sleeping mandarin ducks," or "The shepherd boy points to the village of apricot blossoms.
The sixth stanza of "Spring" is even more similar to the monk Zhinan's poem. Monk Zhinan said, "I cross the bridge east of the staff quinoa", Zhu Ziqing said, "on the path, stone bridge, there are people walking slowly with umbrellas", the bridge imagery, completely copied. Monk Zhinan said, "the ancient wood in the shade of the system short tent", the mood of peace and slow, and Zhu Ziqing "their houses, sparse silence in the rain", but also poorly similar.
In the aesthetic, in the spiritual structure, Zhu Ziqing is not modern. Forgive me for comparing Hu Shi and Lu Xun. As contemporaries, Hu Shi and Zhou brothers, are modern people, while Zhu Ziqing is ancient.
So the prose of Spring, is it really vernacular? From the structure to the intention, from the rhetoric to the emotion, are the ancients ah. It's just an ancient man writing in the vernacular.
The junior high school teacher said that the language is beautiful. Then we look at the language.
First of all, look at the sentence, very lively? The first thing you need to do is to look at the sentence style. Completely a parallel writing style. And it's childish and weak.
We look at the "Tengwangge Preface", read "before and after the Red Cliff Fugue", there are also platitudes and couplets, but that kind of language, there is a texture, there is a mood, there is a momentum, there is also the spirit of the spirit. "The scribbling water ends and the cold pool is clear, the smoke condenses and the twilight mountains are purple", each sentence is a picture of absolute beauty. "Autumn water *** long sky a color, the falling sun and the lone rushes fly together", once out, such as drinking sweet mash, all the seats are shocked.
I don't even want to quote "before and after the Red Cliff Fugue".
I don't even want to quote the "Red Cliff Fugue" anymore. That kind of open-mindedness, philosophical contemplation of the universe and the world, and the boldness of frustrating all things in the end of the pen is moving.
Again, it is a platitude of couples to see Zhu Ziqing. "Sitting, lying, playing two rolls, kicking a few balls, racing a few times running, catching a few times hide and seek. The wind is light and quiet, the grass is soft." I do think that the whole vibe of the text is just soft and fluffy.
There's also this one: the miscellaneous samples, named and unnamed, scattered in the grass, like eyes, like stars, but also winking and winking.
And this one: "The miscellany is like eyes, like stars, and winking.
And then there's this one: "Shuffle your muscles and bones, and shake your spirit".
This is the first time I've ever seen a square dance.
And this one: there is plenty of work, there is plenty of hope.
And this one: "There is a lot of work, there is a lot of hope.
Perhaps Chinese aesthetics, everything has to be neat and tidy. However, the whole text is full of these sentences, from the beginning to the end, no change, not thinking, dull. I don't know if I can do this, but I'm not sure I can do it.
The teacher added that the simile was subtle. I'm going to cry. May I ask if these metaphors are called subtle, then what is called retarded?
Let's take three examples:
First sentence: red like fire, pink like haze, white like snow.
The second sentence: like eyes, like stars, and blinking.
The third sentence: like a cow's hair, like a flower needle, like a fine silk.
Why are these metaphors cheap? Because these metaphors are heavily homogenized. Simile is the most important rhetorical pattern in modern vernacular literature, and I even think that simile basically determines the tone of a piece of prose. And the most important thing about metaphors is that they communicate. To connect two things that are insulated from each other, that are not related to each other, that are not connected to each other in any way, and then burst into a new light.
But you see, Zhu Ziqing, these consecutive metaphors, no craftsmanship, do not think of progress so, but also be said to be subtle. It is intolerable.
"Red like fire, pink like Xia, white like snow" sentence. "Fire" "Xia" "snow", are natural phenomena, the first metaphor down, Zhu Ziqing do not want to think about it, logically wrote. All visual effects, it is called thinking stereotypes. Red, can not be like fire, because there are other red in the world. In addition, I think that the powder only should be like snow, because the flour is white!
Also, "like a cow's hair, like a flower needle, like a fine silk", even with three metaphors is completely superfluous, because this is simply the same metaphor, "cow's hair, flower needle, fine silk", and is the visual effect, similar shape, no difference, that also Why use three in a row? It's purely redundant, and saves effort if you don't use it. This is really not called showmanship, this is called to make a fool of themselves.
The three metaphors at the end of the Spring text, the first, dull, no progress; second, these three metaphors are also wrong. The first said like a doll, the second said like a girl, the third said like a young man. I am dizzy: in the end like what, a person can not at the same time like a doll, and like a girl, and like a young man?