The Dance of Boys Intertwined with Sorrow and Joy (Preface) Jiao Tong Zhu Shaolin's first novel unexpectedly sold well after it was published.She became a best-selling author at the beginning of her talents. Many people envy her luck, but few people understand her efforts and the art presented through hard work.In the current reading environment in Taiwan, best-selling may mean kitsch and superficiality, but Zhu Shaolin has reversed the operation and mixed a lot of thinking and debate into her novels. With the theme of freedom, the plot is laid out, and through the characters and the events that happened to them, philosophical speculations are launched one after another to pursue the profound meaning of life freedom.

The second novel continues the dialectic of "freedom", and revolves around the discourse on the theme of shortcomings, with sharper and more concise words. The narrative retains mild philosophical speculation, such as the two debates in class between Mulpchaslind (Mr.Zhu Shaolin is obviously a novel contestant who enjoys philosophical speculation.This feature makes the conversation of a group of young people avoid the possibility of romance, and makes the discourse of the novel have a certain depth of thought. In contrast, Zhu Shaolin's performance is more exquisite.No matter in terms of the principles of significance, metaphorical coherence, and thematic unity, Zhu Shaolin fully possesses what Jonathan Culler called the traditional literary competence. traditional understanding of the text.It is about a free and liberated young mind facing the inevitable shortcomings in life.With such an interesting narrative, we can easily identify certain rhetorical devices and aesthetic features, and further make these features relevant, proving the unity and integrity of the text.

The action time is compressed in the six months from the rehearsal to the eve of the performance of the giant dance drama "Road to Paradise". The story roughly connects the events in chronological order, and the end connects to the beginning, giving the event a compound function. Zhu Shaolin likens life to dance.For the narrator A Fang, dancing is a very important job in life, and everything that happens in the dance is deeply emotional. A Fang recalled the hardships of adolescence, "sweating like rain, desperately trying to catch up with the dance steps of her peers."Another example is Professor Zhuo, who is suffering from terminal cancer. "I fell ill several times in a row, all of which were false alarms, like repeated curtain calls. I seem to see the narrow smile on the corner of her mouth when she leaned over to answer the gift."

"Road to Heaven" is a closed-door work of the famous dancer Professor Zhuo, implying that this work is the rest of the dance master's farewell to the world, and it is her most beautiful path to heaven.Professor Zhuo taught Ah Fang that a real dancer only dances for the sake of beauty, one time is enough, "entering the apocalypse in the dance, approaching the hand of God". "Road to Paradise" is also a project of wisdom development. Through the practice of this dance drama, every character has grown in spirit and wisdom. Professor Zhuo finally supported his illness and completed his masterpiece; Through hard work and a series of events, I finally "recognized myself", released myself, and realized that the happiness of heaven must be accompanied by the shortcomings of the world; the dance of Long Zai is no longer empty, practice for beauty, dance for yourself, and reach the pinnacle of dancing...

The story begins with violent wind, thunder and rain, and finally the wind stops and the rain stops and the sky is clear. The ending scene mirrors the opening scene. The storm is the emotional code in the movie. When the emotion is excited, the storm is often excited.Ah Fang was obsessed with dancing when she was in college, "like a storm"; when the first track was delivered to the dance drama soundtrack, everyone was excited, "thunder rumbling"; after Ah Fang discovered the ambiguous relationship between Professor Zhuo and Long Zai, her high fever persisted , it rained heavily for several days in a row; Long Zai was summoned by some mysterious power, and it rained like a waterfall, thunderous; Yafen was expelled from the dance troupe, it was a hazy morning; Rain; Long Zai left and returned to the dance troupe, "it rained unusually"; Professor Zhuo reunited with his favorite student Li Fengheng, "the eyes met fiercely, and the past like a storm whizzed through the two of them" .

The metaphor of the storm coherently transforms the symbols of the text. It seems that the emotions of this group of young people are always particularly strong, and strong codes must be used to respond.The most skilled dancers in the troupe are the "Second Brother" Li Fengheng and Long Zai. When the two met, "it was like an Asian tiger meeting a jaguar. At dusk, the second brother even stood up on his neck hair. She shook her head, stopped dancing and went straight to the "dragon boy" in the corner, using the ferocious wild animals as a metaphor for the two enviable bodies and vitality. Looking forward to a released narrative context.

Especially Long Zai, his body is beautiful enough to arouse anyone's lust, but the relationship between Ah Fang and Long Zai has always lacked lust.In order to arouse their emotions and practice their sexual desire, Professor Zhuo actually locked them in a small room and sent them to a pile. A Fang held the dragon cub tightly in the dark night, feeling his panting, "This is a fierce horse that no one can restrain the rein." Horse, it gallops, and all four hooves will catch sparks."There are many examples of this kind of metonymic structure, and complex metonymic relationship sequences are formed in terms of compositional relationships. "Asian tiger" and "jaguar" not only refer to the dancing posture of two masters respectively, but also are referred to by these two wild animals; The fierce horse, unruly, and sparking hooves are also metaphors for sexual desire.

Symbols are the medium of meaning. Zhu Shaolin is mature and experienced in manipulating these symbols. The symbolic groups of coherent texts combine and develop with each other to form a network of signifying activities.Professor Zhuo is not only Taishan Beidou in the dance world, although her dance classroom is only an old one-story house, in the eyes of the narrator, it is "a temple that has been admired for many years", "the tranquility shows a kind of deep palace inner courtyard atmosphere. "; the narrator opened the glass door of her office, "a hexagonal searchlight came directly at the head, the brilliant, brilliant halo filled the eyes, and heaven is nothing more than this", that searchlight marked Professor Zhuo's domineering character and her master status.

Emphasized marks can also be seen in some small places, such as Professor Zhuo's habit of folding cigarettes and throwing them into ashtrays in the air.Another example is the prosperity and withering of the sycamore tree in the yard of the dance classroom, which symbolizes the life of Professor Zhuo. When Professor Zhuo got sick, it shed a large number of dead leaves, and when Professor Zhuo ran out of oil, it died.