Chapter 13 step on the shadow to find the shadow

Listening to people's speech, the sound charm is different, often only a very small difference between the lips, teeth and mouthpiece; The jawbone is low, so even if they speak the same language, there are still differences in details.A friend of mine who studies music is very observant about this aspect. He told a real life situation, which can be used as an opening speech for the topic of "tone". He has a dog named Maverick.Xiao Niu is very familiar with my friend's Taiwanese "Mandarin"; whenever he said to the dog, "Xiao Niu! Do you want to show your breath (go out) to play?" Xiao Niu would wag his tail enthusiastically in response.When the master went to Beijing for a few months on business, he practiced a sharp and sharp Beijing accent with a rolling tongue, and said to the calf, "Do you want to go out and play?" The calf just tilted its head and looked at the master. , the meaning is clearly not understood.Dogs do have the keenness and persistence of dogs, and they don't pretend to be understanding or confused.It knows the master's accent.

Tone - to a certain extent determines the meaning. Let's read this passage first: Do you believe it?The author is indeed not such a strong talker.This quotation is very similar to Qiong Yao in the era of "Water Spirit", and the whole book can be found everywhere, expressing a kind of "hesitating to speak but then stopping", "silence is better than sound at this time" prose poems. From to Xiao Lihong in "Spring Dream of White Water Lake".He is Sima Zhongyuan, and this work is called "Luyang Village"; a cousin who looks like "three daffodils" and his little cousin (the narrator Youru) are "fluttering and fluttering" in the Meng family's house in Luyang Village. Yang, gradually going away", the story of the joys and sorrows of children.

This is not the Sima Zhongyuan we are familiar with. The Sima Zhongyuan we are familiar with is like this: ) Critics who are familiar with "style theory" and paranoid "style theory" often hold a "qualitative" view on novelists' usual tone (including material selection and rhetoric).Once a novelist changes his tune and tune, he regards it as "out of the box".Such arguments have their own history.A famous example comes from Song Yu Wenbao's "Blowing the Sword Record": Su Dongpo could only laugh at such a concise and precise "theory of style" or "theory of style".But after all, he is not reconciled and can only see the hard work of Kansai big men in "bold and unrestrained" which is "outside the original style" of the style of poetry, so we can read that he chanted Yanghua in "Shuilongyin", and there is such a The sentence: "It looks like a flower, but it doesn't seem to be a flower / No one regrets to follow the teachings / Throwing away from home / Thinking about it is / Heartless and thoughtful / Lingering tenderness / Sleepy and delicate eyes / Want to open or close / Dreams go with the wind / Seek The place where Lang goes/was called by the warbler again. I don’t hate the flowers flying away/I hate the red in the west garden./The dawn comes and the rain passes/Where are the traces/A pool of apples is broken/Spring is three parts/Two parts are dust/One part is water/fine It seems that it’s not Yanghua/Diandian is Lirenlei.”

Su Dongpo held back, and let the big man from Kansai sing about boudoir love with his red teeth.If the author's name is erased, it will be difficult to remind people of "Eternal Style Tassel Bachelor"; Su Xueshi can pretend to be "Su Xiaomei". If there were no narratives at the end of the book "Luyang Village", and if I hadn't read it over and over again, it would be difficult to understand: there is always a hero who travels north and south like "Guan Baye" and rushes to the state. Sima Zhongyuan, why did you want to use a female character to write this touching story?The reason why he did this is not similar to Su Dongpo's attitude of holding the red tooth board?He wrote with irrepressible sarcasm in this way:

This passage sounds slightly out of line with the "sentimental" narrator entrusted by the author before the book to "grow up in the boudoir of a big family in the north".Look at the next two paragraphs: The big man in Kansai finally couldn't hold back anymore and changed his face.After Sima Zhongyuan's 180,000-character "misty and dark environment" (the so-called "Green Poplar Village Prelude"), he finally tore apart Youru's tone and subverted the big and second cousins ​​in Meng's house. The elder sister wove the boudoir grievances with "a little soft ailment"; the third cousin "went to Sichuan"-needless to say, took the train braving the "pillar of smoke facing the long wind" of.The eldest brother who caused the tragedy of his children because of his refusal to marry naturally has to devote himself to the epic of the era-"The future sister-in-law is still on the front line in northern Henan, and has not returned to the rear. I have seen her photo from my elder brother. She In a tight shirt, breeches, and riding boots, my brother said she was a good horseman."

Sima Zhongyuan obviously looked down on "In this charming southern country, all the places in the world are full of soft lyricism and faint dreams", but he still wanted to add a sentence: "Isn't that taken from the real world?" However The 180,000-character Wu Nong's soft language and delicate "pretending to be like a child" is a kind of declaration in the style of Su Dongpo's "Shuilongyin": I can still be wind, flowers, snow, and moon! Tone is indeed often determined by subject matter and rhetoric, but it can also be a linguistic strategy.As a language strategy, the tone of the novel has completely opposite functions and meanings: readers are either hypnotized by it and become more integrated into the emotion on the surface of the text; or they are alerted to detect the irony inside the text.The two coexist in the novelist, but the reader can only choose one of them—either, sing and cry; or, laugh at it.

Even if it is a clever language strategy, the tone of dress will slip away accidentally.In the first quotation of this article, Sima Zhongyuan used the two words "lingmu" and "perspective", which are obviously incompatible with the tenderness of the context; The boldness and pattern of the flowers suddenly became larger (even if Shen Jifei tried to explain Dongpo's text in the commentary: "Follow the wind and thousands of miles to find a man, and learn the soul of Yanghua." The majestic brow behind the red tooth board). Isn't it good that "dreams go with the wind"?Yang Hua is so frivolous, why do you have to do it for thousands of miles?

"Lingmu", "Perspective", and "Wanli" may be flaws; Xu pushes them carefully, but it is not to discover the flaws in the tone.On the contrary, after the flaws in tone appear, we gain a spiritual perspective on the unspoken, unspoken, or even disdainful intentions of those writers, and we can trace thousands of miles. An accent that has become an accent must have a history and a pedigree. Bai Xianyong's "Forever Yin Xueyan" ("The Legend of the Immortals", Dalin Edition) has this passage: In terms of line drawings, Bai Xianyong's works will be ranked around Zhang Ailing by those who can't complain.However, if one looks at the source of the genealogy, will Eileen Chang let the hidden narrator (Concealed Perspective) in the novel "lean on the soft silk pillow" and still feel "very comfortable"?

The answer is of course "no".Bai Xianyong's orderly Zhang Qiang fell on a soft silk pillow. The term "very comfortable" is outrageous—it can be seen as a flaw, but it can be used to discover that the hidden narrator (a seemingly omniscient narrator) in Bai Xianyong's novels is actually limited; Bravely confines it to Zhang Shuwei, the student who comes and goes in and out of the "Yin mansion", and is obviously "newcomer", "unsophisticated", somewhat strange and curious, who will "lean on the soft silk pillow" and On people who can't deny that they are "very comfortable".Bai Xianyong, who is accustomed to the viewpoint of a naive narrator (Naive Narrator), is not an all-knowing and omnipotent viewpoint in "Forever Yin Xueyan", but a character who is a little bit young and a little bit ignorant like Rong Ge in the movie-but He is an "unseen" figure, a hidden figure, one who can only whisper "very comfortable" in the half-sink of a soft silk pillow.

As a direct relative of Bai Xianyong's tone spectrum, Zhang Ailing can't let go of the omniscient style when dealing with a pile of upholstered furniture-because she has too many opinions that understand the world and can come from any place. It has to be sophisticated and sophisticated, and there is no room for the slightest naiveté who would make a fuss about a pair of silk pillows being "very comfortable." In ("Zhang Ailing's Fiction Collection", Crown Edition), she wrote: Also writing about the softness of objects, the narrator of "Forever Yin Xueyan" who fell into a silk pillow is much colder and older; That is a very detached position to be in rather than getting into the situation.Why?Because that is a truly omniscient position.Why?Because only in such a position, "the East of foreign old ladies is all here."This kind of discussion about the world's situation has never been repeated.In fact, Zhang Ailing often can't hold back this kind of teasing, instead of always maintaining such a narrative position.In it, she ridiculed "China in the eyes of foreigners" or "China in disguise for foreigners":

People who end up writing novels because they read novels, read novels, and indulge in novels may not have a deep understanding of "narratology" or even "narrative viewpoint".He feels first of all the emotion in a story and the tone in which it is told.When he himself is not a person with rich stories but is eager to tell stories, there must be a giant tree that he can hug and float in the vast sea of ​​words, and that is the accent.A writer who fascinates him, or a writer who despises him, has left such a shadow. It has a meaningful entity, and the same shadow cannot be manifested by the other entity.Stepping on such a shadow, no matter whether it comes from the source material, rhetorical imitation, or language strategy satire, it is not in the original style, but it does not become stylistic and styleless because it is not in the original style.At least, Su Dongpo's "three parts of spring/two parts of dust/one part of running water" also attracted Ye Qingchen's "three parts of spring and two parts of sorrow/more part of wind and rain".Sima Zhongyuan's "Green Poplar Village" also hides the oppression and abandonment of the love of children in the great age in the deep courtyard of a dilapidated mansion.Bai Xianyong is neither "absurd" nor "funny" on the topic of "Nostalgia for China" that Zhang Ailing "acts on a small way without saying a word". When stepping on the shadow in front of you, if you really feel that "you can't step on the flowers, as if there is something separated", the novelist should regard it as a discovery and an opportunity, and he will look down at this moment. At a glance, one's own shadow is there; because a novelist must have a meaning that only he can care about, express, and embody.The tone is obvious from here.