Comment 丨 Liang Hao: Yang Dai, as the only meaning

Yang Chen, as the only meaning

Wen 丨 Liang Hao

Some people seem to give the impression of being old and heavy at the beginning, with clean bones, white hair, no sense of material, full of awe for knowledge, and the corners of their mouths always linger in a serious, delicate and calm shallow smile. Yang Dai is exactly such an image, even in her twenties, she has already tried to cry in the literary world for the first time with a series of essays and short stories.

Reading the book "Joy and Compassion" with such a "popular impression", one of my great impressions is that, at least in a sense, Luyo is painstakingly breaking our prescience and even prejudice, and reading the text carefully in this patient, meticulous, and quiet way of studying like a pure craftsmanship -- a way to break stereotypes that is the most reliable, the most unashamed, the most silent way.

First of all, as a literary creator and practitioner, Yang Dai is an independent individual, whether she is snubbed or not, the muse is the muse, a shining existence, she can shine alone without any others' dependence, support or attention. The specific performance, from genre to style, from viewing the world to observing the world, from memory to dream, is all in Lü Yue's cocoon, thus showing Yang Chen's joy and compassion. Secondly, Yang Dai is very young, or young, even if he is young and old. Among them, the early years of theatrical creation are prominently represented. Whether it is the laughter in the three comedies, or the madness and magic in the tragedy "Kite", they all show that in terms of gender emotions, personality psychology, and the morality of the homeland, Yang Dai's brain-twisting and flexible thinking ability and the figurative ability of turning stones into gold; and his later works such as "Bathing", "We Both", "Walking to the Edge of Life", etc., although the posture is retrospective and summative, but there is no dull twilight, the tone of the voice is sonorous, coughing into pearl jade, and there is a high degree of continuation with the style and interest of the early stage, and even more surging and swaying.

In the photo, Yang Dai always smiles, and in the text, Yang Dai really knows what laughter is, and she knows the five tastes in laughter and the world is cold. To some extent, from Yang Chen's works, the smiles in those words and lines are diluted by Lu Xun, more cautious than Qian Zhongshu, more than Zhang Hate Shui to land, and more inactive than Lin Yutang.

Behind the laughter is a calm soul. From novels, essays, and drama creations to translations and research treatises, just like Yang Dai's self-description, there is no exception to "doing with the flow". It is precisely because of this "amateur" and heartfelt work, including novels that claim to be "made out of nothing", even if they span different eras and the call of their fashions, they can be described as out of their nature, their emotions, and their wisdom. The "unchanged" at the time of the great changes in the situation and drastic changes, I think it is because it is actually changing, the switching of genres, the tilt of the center of gravity, the consideration of lore and present, it is a kind of microscopic debugging and rest, and there is a lot of room, because this flashing and moving is covered under the same roof - in the real sense, "we both" have a loving little home, in the symbolic sense is the "big me" who is diligent in thinking and discerning, and the "big me" who has a strong concentration and its own operating principles. Therefore, the stretch inside and outside of Yang Dai's writing is organic, lively, no additives, no residues, and true temperament articles.

Yang Dai's language also gives people a feeling of "not wanting to be separated from the crowd". From grammar to words, there is no obstacle, no false voice, no high-profile or bent teeth, whether it is a novel, essay or drama, it is to let the reader arrive comfortably and freely, close to the author's intentions. But this does not mean that language is only a means, and that language as an end lies in the process of language. Out of the cavity and taste, this is a high-level and extremely difficult language skill. Here, language is water, half a pond of lotus flowers, feeding a pool of live fish, dirty return to dirty, beautiful self-care beautiful, all here. Occasionally, the wind blows, and the waves are not alarmed. If you look at it patiently, this invisible and colorless water is actually a good scenery suitable for movement and stillness, worthy of Lu Yue's summary: "Its language style integrates classical and modern, elegant and colloquial, to achieve a harmonious literary quality, a state of elegant and customary coexistence, and to achieve the unity of language's historical continuity and innovation, universality and personal style." Among them, the literary language tradition, the classical literary tradition, the Western literary tradition, the folk colloquialism and even the propaganda language tradition looming in the "May Fourth" literary tradition, which are wonderful in "integration" (synchronicity) and "co-time" (duration), and there seems to be traces to follow, but there is no trace to be sought.

I have never believed in perfect people, nor do I believe in flawless works. So why do we read, or even read, the works of some writers repeatedly, so that regrets return to regrets, and infatuation becomes infatuation? The reason, I am afraid, is that something irreplaceable is hidden in it, and it is closely related to our own lives and states of mind, which is the most magical and flawless place in literature.

(Source: Journal of Literature)

Liang Hao was born in 1992 and currently lives in Beijing, with a Master of Arts degree from Beijing Normal University. Novels have appeared in newspapers and periodicals such as People's Literature, Mountain Flower, Tianya, Youth Literature, Furong, West Lake, Works, young writers, etc. Poetry Journal, Novel Review, Contemporary Writers Review, Literature and Art Daily, Literature Newspaper, China Reading Newspaper, And Chinese Literature Today (USA) and other newspapers and periodicals.