Chapter 43 1987 "Stubborn Lord"

Genre: Novella Author: Wang Shuo Original publication: Published: Issue 6, 1987 (Written by Yang Zao) Wang Shuo's popularity and controversy started from movies—not novels. Before 1988, Wang Shuo had published novellas and short stories such as "Floating from the Sea", "Half Sea, Half Flame", etc., which attracted some attention, but his works obviously did not belong to any kind of ideological trend Or a genre—until now, where many contemporary literary histories place Wang Shuo is still a question that makes those in charge ponder.This means that he cannot be placed in a ready-made framework of interpretation, and thus cannot gain enough attention in the system of scholarship and critical production.

The change came in 1989.From the end of 1988 to the beginning of 1989, within a few months, four films based on Wang Shuo's novels were released, directed by Huang Jianxin of Xi'an Film Studio, directed by Mi Jiashan of Emei Film Studio, and directed by Ye Daying of Shenzhen Film Company. "Great Breath" and "Half Sea Water, Half Flame" directed by Xia Gang of Beijing Film Studio.According to Wang Shuo's own recollection, the plan at that time was even to launch eight films in a row. Wang Shuo said that these films made him "famous in the society for the first time". The editorial department of "China Film News", "Film Art" and the China Film Critics Society also jointly held a seminar on Wang Shuo's films, which also triggered a discussion from the film industry. From the literary world to the literary world, there has been a debate about Wang Shuo that lasted for four or five years.

A movie review pointed out a very interesting phenomenon: when discussing several movies, all reviewers did not regard them as the works of their respective directors, but collectively regarded them as "Wang Shuo movies".Unifying a group of films under the name of an original author is not only unprecedented in the history of film, but will probably also be unprecedented.This shows that the focus of the discussants is not on the artistic achievement or performance style of the film, but on the characters of this series of works-a strong saying at the time was that these films were "written by ruffians". , the riffraff acted for the riffraff."

There is an obvious age dividing line between those who criticize or affirm "Wang Shuo's films": most of the critics belong to the "older generation". I hope to find a new way that can not only compensate the audience and give vent to entertainment, but also be closer to real life, but dare not offend the authorities and be banned." "Another important reason why Wang Shuo's novels are attractive to film creators The reason is that it uses ridicule and jokes to attack or express heretical ideas in certain sensitive areas (mainly sexual and psychological taboos)" ("Where did Wang Shuo's movie craze start?", "China Film News", March 1989 25).He believes that although the artistic quality of these films is not weak, they cannot be regarded as good films, because film directors "overemphasize them and ignore their shallowness, vulgarity and evil in ideology" ("People, Can't Live Like This", " Liberation Daily, April 12, 1989).Tang Dacheng wrote an article in "China Film Weekly", saying that "stubborn masters" are "people who slipped out of the track of life", and hoped that "as a writer, Wang Shuo should not stand on the same level as the characters in his own writing, and not to ponder, appreciate, and be fascinated." Such a lifestyle and attitude towards life”, although “the director is willing to shoot and the audience is willing to watch Wang Shuo’s works, but there is still a problem of how to express them”.Liu Dan believes that the "stubborn master" type of joking life is not worth expressing and affirming: "The master-slave mentality that emphasizes social hierarchy and destroys independent personality, and the 'stubborn master' mentality that denies human morality and pursues extreme personalization are nothing but a The front and back of an old coin, in today's China, both are the arrogance of humanism and the reaction to the modernization process." ("The Arrogance of Humanity and the Poverty of Aesthetics", "Wen Wei Po", April 11, 1989 day)

Positive comments are equally violent. For example, Bai Ye believes that the characters in Wang Shuo's films are precisely "prodigal sons". It makes the work full of the wonderful rhyme of laughing and cursing, which can arouse the sympathy and consensus of the audience, and make people go from relaxed viewing to deep thinking, so as to think from the familiar but unfamiliar "prodigal son"'s emotions, fate and fate. Various problems in the changes of social life" ("The Significance of Wang Shuo's Film Works", "China Film News", March 15, 1989).Chen Xiaoming defined the significance of Wang Shuo as the impact of "subculture" on the mainstream culture: "They are the restless souls of the city, the rebels and challengers of life in our era, and they carry the fantasy and life force of the commodity society in the world. Running and dancing wildly on the wilderness of life, this is the landscape of our time, it is not magnificent, but it is full of the original tension of life." ("Subculture: Wang Shuo's Life Impulse", "China Film News", March 15, 1989 ) Some critics even accused Shao Mujun of "on the one hand, basically denying the critical value of Wang Shuo's films to reality, intentionally or unintentionally lowering the cognitive value of the film as much as possible; , to avoid offending the authorities and being afraid of criticism from critics." (Zuo Shula, "I feel Shao Mujun's evaluation of Wang Shuo's films", "China Film News", April 15, 1989)

In 1990, Wang Shuo participated in the creation of China's first large-scale indoor TV series "Desire", which triggered a nationwide viewing boom. In 1991, Wang Shuo led the creation of the TV series "Story of the Editorial Department", which once again achieved great commercial success. In 1992, Huayi Publishing House published four volumes of "Wang Shuo's Collected Works", which was a precedent for writers in the innovation period to publish collected works.The anthology of Wang Shuo's novels, as well as "Fragments of Wang Shuo's Works" and "Wang Shuo's Wonderful Quotations" have become bestsellers on the bookstore. ", "If you get too addicted, you will die" have become popular urban buzzwords.Collections of comments about Wang Shuo include "Wang Shuo, Master or Ruffian", "I'm a Hooligan Who I'm Afraid of", "I'm Wang Shuo", etc. In 1993, "China Youth Daily" opened a special issue "What Wang Shuo Brings Us" to expand on Discussion of the Wang Shuo phenomenon.This has also aroused overseas interest. The New York Times, the Yomiuri Shimbun, and The Times all reported on Wang Shuo.Australian sinologist Geremie Barme believes that the Wang Shuo phenomenon is "the most important publishing phenomenon since the Mao Zedong era, and it symbolizes the advent of the era of contemporary Chinese urban culture" ("Wang Shuo's Theory of Ruffian Creation of History", "Wang Shuo, the Master or Ruffian", Beijing Yanshan Publishing House, 1993).

Wang Shuo's works have sparked such fierce and bipolar debates, but no one can deny that Wang Shuo's works carry the common emotions of that restless era. The whole society is eager for a confrontation and a change of situation. Agree with the borderline gestures of ridicule, sarcasm, and games.From directors to critics, people's borrowing and interpretation of Wang Shuo's works are covert and selective.More than ten years later, Ye Daying, the director of "Great Breath", said in an interview: "I just thought about how to relieve my anger and how to shoot. I felt a little bit out of breath. I was a little naive and rebellious at the time... I feel happy to offend those pious people." , In fact, now I think of it as a bit of a prank." He also admitted that these "Wang Shuo movies" "are not of much value if measured by the sense of social responsibility or subject awareness", but at the same time emphasized that "it is a product of the times. It is also a kind of emotional catharsis when we gradually passed from youth to middle age in the 1980s" ("The 1988 Movie "Wang Shuonian": How to relieve anger and how to shoot", "Beijing News", September 3, 2005).

According to the editor's memory, the original name was "Pork Belly". After the editor suggested, Wang Shuo used the current name. "Stubborn Lord" is said to be a buzzword in Beijing at that time, specifically referring to the cynical fringe youth described in the novel.The novel describes that Yu Guan, Li Chong, Ma Qing and other "recalcitrant masters" established the "Three T Company", which means "to solve problems for others, relieve boredom for others, and suffer for others". They scolded, dated and organized literary awards for others ... They accept and sympathize with all the vulgar, realistic and even absurd desires of the people, but they are extremely disgusted with Zhao Yaoshun and Baokang, who are hypocritical on the surface but dirty in heart.The novel is basically a combination of fragments. Among Wang Shuo's novels at that time, the story was relatively weak, but it became Wang Shuo's most influential work, and the film adaptation was also the most successful.

Interestingly, in the novel, all the "three T's" of the "recalcitrant masters" point to the resolution of the spiritual level: being scolded for the husband and making the wife happy; dating the doctor and making the girlfriend happy; An exclusive literary award, to eliminate his regret of not getting the award, and use all kinds of string language to persuade homosexuals, masturbators, and people who complain that the price of meat is too expensive... The stubborn master does not solve practical problems, they It is only responsible for comforting and soothing people's resentment and depression.And in the movie directed by Mi Jiashan, the plot of taking care of the paralyzed old lady for the family members was added, and it was the only task that pointed to practical problems and could not be resolved with ridicule and comfort, so that the Three T Company fell into a complete predicament. Had to suspend business for rectification, but the long queue in front of the Three T Company at the end of the film is a metaphor for the function and significance of Wang Shuo's work itself. , a lot of complaints and dissatisfaction from the audience have been vented, the protagonist is cursing, as if he also scolded, he let out his anger by laughing out loud, and left the theater happy. From this point of view, it is actually Help." The characters in Wang Shuo's works do not have the desire and ability to change the system and rules, but they escape from reality spiritually through self-deprecation and ridicule, which is exactly what Chinese society at that time needed.

Chen Sihe believes that the meaning is quite difficult to grasp. "Wang Shuo tried to explain the positive meaning that a decadent attitude towards life may have in society in this work, but this effort seems to be unsuccessful."The conflict between Zhong Yuguan's father and Yu Guan is very meaningful. Facing his father's positive instructions such as "revolutionary ideals" and "doing something useful for the people", Yu Guan insists on "I am not vulgar", that is, secular Ideal legitimacy, he does not directly confront his father's beliefs and dogmas, but points out that his father is now playing mahjong all day long to enjoy the blessings, "eating and being lazy", and using "the people raise them, and the people give you money to let you cultivate them." "Revolutionary offspring" to resist the right to speak given to father by traditional ethics.Yu Guan here is actually switching between revolutionary moral discourse and traditional ethical discourse, looking for all favorable discourses to reject the discipline of mainstream values.This is a kind of resistance that looks happy but completely ineffective, so the ending is bound to be futile and muddy:

Father: "It seems that you are not going to have a frank exchange of ideas with me." Son: "Let me cook you a meal. I have recently learned a few Western dishes." In this regard, Chen Sihe pointed out that "historical irony is the basic mentality of Wang Shuo's novels, but the generation represented by Wang Shuo is too young after all, and history is quite a distant myth for them. They cannot experience the content contained in tradition. What is accepted is only literary works fabricated to promote these traditions—such as model operas during the Cultural Revolution and some revolutionary memoirs. Therefore, their knowledge is very narrow and their thinking is quite superficial. Among those described by Wang Shuo, Their historical irony is often only reflected in the mockery of the literary tradition they have accepted, using it as a language toy." ("Black Decadence - Notes on Reading Wang Shuo's Novels", "Contemporary Writers Review" No. 5, 1989) In short, the recalcitrants lack the spiritual resources to fight against mainstream values, which is also an important reason why they choose to avoid stances. Because of this, some commentators from Wang Shuo's novels "feel a sense of resentment revealed between the lines, and his characters are ready to vent this resentment at any time. Under the superficial rejection of the central culture by his characters, there is often a The concealed deep psychology is coveting. The deep substantive meaning of parody (laugh at the object by imitation) in Wang Shuo is precisely the inversion of parody: to imitate (covet) the object by ridicule (rejection). Therefore, parody is not only a way of expression, but also a strategy of concealment” (Yu Bing, “Wang Shuo, Subculture and Others,” Literary Theory and Criticism, No. 6, 1992).This sentiment can be confirmed in Wang Shuo's half-truth and half-fake confession: "A rough person like me always has a mountain of intellectuals on his head. Their pervasive sense of superiority, they control the entire social value system , with their values ​​as the standard, it is very difficult for us vulgar people to struggle. Only when we get rid of them can we have a day of recovery, and we dare not beat others." ("Wang Shuo Confessions", "Literature and Art" The hatred and contempt of mainstream values ​​is real. This kind of hatred and contempt is not so much a product of value differences, but rather a result of the anger of "it can be replaced."In the novel, only the "writer" and "professor of moral education" are placed in a situation of being ridiculed and exposed as a whole. It seems that the protagonists don't care about them and turn a blind eye to them, but in fact, the only thing that makes them very angry (this is among a group of people who It is quite abrupt for a character whose purpose is to help others), only this moral education professor who keeps accusing them of being "empty" and "not motivated".After Zhao Yaoshun "harassed" them again, the stubborn masters' anger broke out: "I want to hit someone, I fucking really want to hit someone." After Zhao Yaoshun quit, Ma Qing jumped out from behind the table, rolled up his arms and sleeves and said with frenzied eyes. "I want to hit someone too, I want to beat someone badly." Yang Zhong clenched his fists and said tremblingly, "If I hadn't kept telling myself that you would have to go to the Public Security Bureau to pay the medical bills for beating someone, especially the old ones. If it doesn't work out, raising him for the rest of his life is like having another father for no reason, so I rushed forward a long time ago." "But I really want to fight, I can't care so much, I don't want to think of a way, so I have to fight with you two." "Okay, let's do this." Yu Guan stood up suddenly, and walked out with his fists clenched, "Let's go to the street and challenge those well-dressed, white and fat gentlemen." "It's really comfortable, it's really comfortable, I haven't done this for a long time." Ma Qing and Yang Zhong were gearing up, jumping and following with excitement on their faces. On the street, the three of them bumped into those middle-aged men with neat hair, straight trouser lines, and unhappy. When they bumped into each other, they all turned their heads and stared at each other. The thick middle-aged people did not respond without exception. They understood their situation at a glance, raised their heads proudly, and moved away expressionlessly.Such forbearance and performance that are similar to each other make the three of them have a good feeling that they are invincible every time they succeed. Afterwards, a classic detail emerges.The recalcitrants were so happy with their victory that they began to challenge the society: Ma Qing excitedly walked to the front, shaking his fists and shouting at passers-by: "Who the hell dares to provoke me? Who the hell dares to provoke me?" A thick-skinned man in overalls approached him and whispered, "I dare to mess with you." Ma Qing was stunned for a moment, looked at this young man like a steel tower, looked around and said: "Then who the hell dares to mess with us?" The provocation ended with the dependence on the strong, which is in line with what Wang Shuo said, "We dare not beat others."Wang Yichuan's analysis of this is: "A distinctive feature of these 'ordinary people' in their behavior is that they were successfully rescued by turning their actual behavior into verbal ridicule. Specifically, when they are frustrated or in danger in actual behavior, they often turn to And to save themselves through their good ridicule behavior, and it always works, which guarantees that they can finally obtain the carnival of language... For the "laity", the carnival of behavior must eventually be transformed and implemented into the carnival of language (ridicule) .Their carnival of behavior is essentially a carnival of language.” This kind of language carnival, including parodying/using “political discourse” in large sections of all Wang Shuo’s novels, is aimed at the “political state” for decades. Unique "political life" tradition.On the one hand, it constitutes "the power to dispel the object of ridicule—official language and elite monologues." On the other hand, it reflects that political discourse is deeply rooted in Wang Shuo's heart. His political national tradition is "full of gratitude and remembrance". ("The End of Language Mythology—Sarcasm and Its Aesthetic Function in Wang Shuo's Works", "Learning and Exploration" No. 3, 1999) And Qi Shuyu also pointed out: "He wins discourse by destroying all authoritative discourses. Power expresses the voices of the lower classes of citizens by denying all truths and beliefs, demonstrates the spiritual superiority of this class by idealizing the lives of people at the bottom of society, and provides a legal basis for this class to gain power discourse.” ("Escaping and Entering the Market: The Choice and Destiny of Contemporary Intellectuals", "Contending Literature and Art", Issue 4, 1995) This paradox in Wang Shuo's language carnival was covertly misunderstood in the late 1980s, with affirmers emphasizing its marginal identity and dissolving function.In 1993, Wang Meng's article sparked another controversy.The two parties in this debate switched age positions.The elder Wang Meng continued the line of praise for Wang Shuo in the late 1980s: "A few more Wang Shuo may reduce the number of Red Guards who shouted 'Defend Comrade Jiang Qing' to kill and be killed. Wang Shuo's cynical remarks are especially red guards. The reactionary spirit and the spirit of the model opera...he tore away some false sublime masks." ("Dushu", No. 1, 1993) But a relatively young group of intellectuals has already felt the wave of secularization and cynicism , Desire narrative has a huge impact on the spiritual life of Chinese society. They no longer have sympathy and sympathy for the initiator of this trend, Wang Shuo, but regard him as a "destroyer", and even call him "a colorful Poisonous Spider".For example, Zhang Dexiang believes that "while money strengthens people's concept of money, strengthens personal interests, and impacts moral values, their philosophy of life coincides with this strengthening, and it has undoubtedly received social response, forming a kind of society. Cultural phenomena: monetization, self-interest, practicality, and secularization" ("Wang Shuo Criticism", China Social Science Press, 1993), Zhang Hong pointed out that the gesture of ridiculing everything "dilutes the seriousness and severity of existence. It Abolishing the critical consciousness of life, not assuming anything, whether joy or pain, and mocking the undertaking itself as a joke, can only be counted as an abject and weak sign of life" ("On the Wilderness") Ruins——Crisis of Literature and Humanistic Spirit", "Shanghai Literature" No. 1, 1993) In the whole "discussion of humanistic spirit", Wang Shuo became a new target and was severely attacked as a "spokesperson of citizen culture". Wang Shuo later called himself a "popular novelist" in his self-report, and he kept attacking popular culture in Hong Kong and Taiwan, such as martial arts novels and pop music, to separate "two popular cultures".This is actually a more accurate positioning.Wang Shuo does have a kind of "big courtyard boy spirit", which is manifested in the characters in the novel, but there is actually a kind of self-elite color.Looking back at the "recalcitrant masters", their actions should be understood as turning to appeal for an alternative redemption in which the traditional upward channels were closed to seek public support through a rebellious posture.As Wang Shuo said in his own words: "His anti-cultural and anti-elite attitude is forced...he is smart, knows how to make use of his strengths and avoid weaknesses, and simply stands on the opposite side of what he doesn't have. There is something to say, not that we don't understand, but It’s just that I can’t look down on it!” ("I Look at Wang Shuo", "The Ignorant is Fearless", Chunfeng Literature and Art Publishing House, 2000) It’s just that under the background of different times, a certain aspect of Wang Shuo’s novels has been magnified, stereotyped, and given too much political and social implications. Wang Shuo's novels initially had a dispelling effect on mainstream ideology. For example, the ironic use of political vocabulary and the mocking reproduction of false sublime in the works all reflect the long-standing contradictions and confrontations between popular discourse and political discourse.And due to the transformation of political discourse and the ideologueization of popular discourse, the two have reached agreement on some levels.For example, in the TV series "Desire" and "The Story of the Editorial Department" produced in a folk way, "Desire" puts an idealized way of dealing with interpersonal relationships on Liu Huifang, so that audiences who feel the indifference of human feelings in the commodity era can get Watching is satisfying, but the TV series deliberately downplays Liu Huifang's modern background and inner conflicts, but only presents a traditional image of a good wife and mother who has no regrets, which takes away the modern ethical basis behind Liu's behavior. The role is stained with the utopian color of "selfless dedication", thus covering up the deep social contradictions behind the image. "The Story of the Editorial Department" made a mockery of the world, but it did not lead this mockery to suspicion and resistance to the current social mechanism, but to allow the contradiction to be resolved by itself (the conscience of the merchants who manufacture fake and inferior products found that , divorced couples reconcile).Although most of the characters in the play are cynical, they express absolute obedience to political discourse, such as the editor-in-chief's instruction and legal judgments, and have never been hurt by political discourse, which fully demonstrates Wang Meng's praise for Wang Shuo's "tact": swing, but properly hugged - do not touch the muzzle", "they are very suitable for the four principles and the market economy". ( ) The popularity and unimpeded access of this literature is predictable, but its attachment to political and popular discourse is also obvious. Wang Shuo's "Wang Shuo's Collected Works: Humor Volume", Huayi Publishing House, 1994 Edition Wang Shuo, "Wang Shuo's Confessions", "Literary Controversy", Issue 1, 1993 Wang Shuo "The Ignorant is Fearless", Spring Breeze Literature and Art Publishing House, 2000 Edition Wang Meng, "Reading" Issue 1, 1993 Zhang Dexiang, Jin Huimin "Wang Shuo Criticism", China Social Sciences Press, 1993 edition Wang Xiaoming et al., "Ruins in the Wilderness——The Crisis of Literature and Humanistic Spirit", "Shanghai Literature", No. 1 and No. 6, 1993