Kiyoharu Matsumoto is a well-known Writer of Speculative Fiction in Japan, whose works have long since stepped out of the circle of speculative fiction and have become an important part of Japanese national literature.
In the early days of Japanese mystery novels, they imitated the "success" of detective novels from the aspects of theme, characters and creative skills, although "successful", they also stopped at "imitation", and "Fahushang" could only "get in the middle", after a long period of study and digestion, they gradually formed their own characteristics of detective novels - social speculative fiction, and walked out of an innovative road.
"The Woman Who Bought a Local Newspaper" adopts the narrative structure of the traditional Japanese drama Noh drama "Prelude Breaking", which makes the writing beautiful and poetic, and achieves the perfect combination of yu sentimental beauty and concise plot.
<h1 class="ql-align-center" >. The prologue, broken, and urgent structure of "The Woman Who Bought the Local Newspaper"</h1>
"The Woman Who Bought a Local Newspaper" focuses on the content of the newspaper doubts, mountain forest doubts, and letterhead doubts, and brilliantly runs through the structure of the preface, broken, and urgent, and clearly has the characteristics of traditional Japanese literary narrative in the way of writing, and writes a thrilling and moving murder case very vividly.
"Preamble, break, rush" as a narrative means, first appeared in music. In the Tang Dynasty of our country, they represented the form of musical art structure. In the chapter of "Song and Dance Daqu" in the book "Chinese Music", it is said that "Daqu" is a multi-segment body music and dance suite that integrates music, dance, song and dance, and is a higher form of musical art structure. The "Great Song" of music and dance developed and formed in the Tang Dynasty consisted of "preamble, break" plus the word "zhong", which together formed "preamble, middle and break" to represent the three main levels of music. These three main levels are "scattered order, middle order, and broken". "Loose Order": Free rhythm, played many times using pure instrumental music, one tune per time. "Middle Order": Enter the beat, the pace is slow. Sometimes the song starts, sometimes the dance goes in with the song, and sometimes it only sings and does not dance. "Broken": The rhythm is changeable, and finally gradually accelerates, ending with a warm dance that pushes the whole song to the climax.
The tang dynasty folk music and dance structure was imported into Japan along with Chinese culture, and was absorbed by the Japanese into their own folk performing arts. Noh is the performance art of the Japanese Middle Ages, it is composed of three elements of song and dance, noh lyrics and accompaniment, they are respectively "prelude dance, middle dance, broken dance, rapid dance", indicating the structure of the dance, the speed of the rhythm, each play has a so-called "preamble, break, urgent" structure, and in the "broken" and then subdivided into three paragraphs. Therefore, each output can be divided into five structural formulas of sequential paragraph, broken three paragraphs, and urgent paragraph. The prologue explains the plot, the broken three paragraphs are the plot development, and the urgency is the climax.
"Order Breaking" in noh drama refers to the order in which things begin, middle, and end. The order is import, the break is the unfolding, and the urgency indicates the end. Prologue: Equivalent to what we call "beginning", it is the beginning of the story, the laying stage. Broken: Equivalent to what we call "bearing" and "turning", that is, the middle of the story, the most exciting stage of development. Urgent: Equivalent to "he", it is the end of the story and the unpredictable reversal stage. However, simply understanding "order, breaking, and urgency" as "starting and turning" is not accurate, and the four words "starting and turning" give people a feeling of stability and stability, there is no drama, but "order, breaking, and urgency" are more thrilling and abrupt.
The work "The Woman Who Bought a Local Newspaper" penetrates the essence of the author's Japanese aesthetic thinking of "preamble, break, and urgency" throughout the work, and finds an appropriate footnote for the charm of this work.
<h1 class="ql-align-justify" >1. 1 Order: Everything is unknown</h1>
The prologue is how the story unfolds. The opening scene of "The Woman Who bought the local newspaper" begins with a description of the scene:
The newspaper was in K City, and it took about two and a half hours to get there from Tokyo. Although the newspaper appears to be an influential newspaper in the prefecture, there are no distributors in Tokyo.
In noh drama, the first thing that appears is also a well-arranged stage. The stage is composed of four parts: the stage, the ground ballad seat, the back seat, and the lead bridge. The main stage of the square stage is six meters long and wide, built of polished cypress trees, covered with a Shinto-style roof, about three feet high, and there are four pillars on the stage: the Shi Hand Pillar, the Eye Pillar, the Minister Pillar, and the Flute Lord, and there is also a bridge leading to the stage That audiences in all directions can see the performance, and what they see from different angles is different. The roof is Shinto-style, supported by four pillars, and the back wall is painted with pine trees, which is the only background used in all shows, and it is unchanged no matter what play is performed. In "The Woman Who bought the local newspaper", the surrounding social and natural environment is also described in detail:
The newspaper office is in K City, and it takes about two and a half hours to get there from Tokyo.
Yoshiko once read the "Koshin Bao" in the deserted restaurant in front of the K City station, and while waiting for the Chinese noodles to be applauded, the waitress put the newspaper on the rough table in front of her.
What appears in front of you is the unique scenery and people of Japan during the Showa period, and then the picture turns to the natural landscape:
On the front of the town is The White Snow Covered with Kai Komagata
Looking to the right from that mountain, you can see a hill based on the color of dead leaves, with overlapping peaks. A valley in the mountains in the distance. Although it could not be clearly seen, the mysterious and remote valley hinted to Yoshiko that something was about to happen.
Like the pine tree on the back wall of the Noh drama stage, Kai komagata appears repeatedly in the later texts, in the fleeting thoughts of the characters, in the description of the scene before another murder is about to take place, like a lingering shadow hanging over people's hearts, and like a situation that implies that the historical conditions that cannot be changed have created reality.
Next on the scene is the protagonist Yoshiko, she does not know why she is buying a local newspaper, there is no her words, there is no psychological activity, like the slowly on stage of the noh actors, they wear masks, people can not guess their thoughts, the pace is heavy as if there is a heart. The mask of Noh is the essence of Noh and is the prop that has been valued by performers in the past.
Originally a religious ritual, noh performers dressed in traditional Japanese costumes put on masks or perform traditional dances without expression in order to disguise their expressions. Noh noodles often give people a very weird feeling.
The noh face is an intuitive attribute of the outside of the "no" performance, which realistically portrays a character's heart on the "face" without the need for any superfluous expressions, which are both "expressionless" and "infinite expressions". It includes joy, sorrow, beauty and ugliness, negates the living expression of people, and only imposes an expression on the audience's senses, thus abstracting the "can" performance, and the performer can only rely on body language to express the feelings to be expressed, and in this relationship of opposites and unity, the audience has a different sense of beauty.
In "The Woman Who Bought the Local Newspaper", Yoshiko does not seem to have any expression:
Yoshiko watched from the sidelines, but she was not alone, and there was a deaf and mute man standing next to her, not to listen to the speech, but because the crowd blocked the way, he had to stop there. ”
Yoshiko walked in through the back door, said "early" to the boss, her partners, and the tea house, and ran into the dressing room to put on her makeup.
Yoshiko's every move does not let us understand her inner thoughts, she always seems to wear a mask of noh drama, her superficial emotionlessness makes people feel that they are thousands of miles away from her, but it is in this extremely repressive Yoshiko's behavior that we can perceive that the appearance is not in line with the inside. Just as the more important the place in the noh drama, the less action there is, and sometimes it is stationary. The more important the musical performance, the more silent parts there are. Stillness here is not stopping, just as the gyroscope looks still when it turns to the fastest, bringing one back to the state of "nothingness.". The state of "none" has infinite possibilities for manifestation. Therefore, some people think that the expression in the middle can be expressionless, which is a misunderstanding. Noh noodles are not static works of art hanging on the wall for people to see, so good noh faces leave a blank space for the performance. Therefore, there is "the life that can face is the life of energy", and "the heart that can face is the heart of energy". The extreme calmness of the protagonist of "The Woman Who bought the local newspaper" makes people feel suspicious and curious, but in a brushstroke, we finally find the extreme fear under the quiet and calm:
Yoshiko listened intently as she thought about quitting her job at the shop. In front of her, a ship was breaking the waves. Lately, day or night, the ship has always been in front of you. She touched her chest in her dress with her hand, and it jumped painfully inside.
Although the prologue is a little bland, it still touches people's curiosity, because the story is interspersed with a little ominous dark cloud, that kind of fatal uneasiness. However, it seems that the author seems to be deliberately avoiding this tension, and there is no strong rendering of this uneasiness, which is the author's cleverness, the blandness of the "order", as if it is a lake in a hazy weather, there is a little depression and uneasiness hidden under the silence, whether this light gray mood will be sunny with the weather, or it will fall with the heavy rain, everything is unknown.
<h1 class="ql-align-justify" >1.2 Broken: The secret is "flower"</h1>
Breaking the three paragraphs is the development of the plot, and there is a feeling of breaking the pattern, thundering, and menacing. There is also such a structure in "The Woman Who bought the local newspaper", allowing people to grasp the plot in a twist and turn and extremely rapid transition.
"Broken" is particularly prominent in Japanese aesthetics: it is a point of view that arises from the way of life that is devoted to nature and conforms to nature. This view may precisely be the existence of confrontation and destruction of established ideas and creative ideas of the past. This "broken" aesthetic view brings vitality to other Aesthetics in Japan, and life becomes exciting. It can be said that the great catastrophe is a kind of vitality formed in the moment of destruction.
In the middle of the 16th century, the "House of Number Odds" created by Senritsu had the idea of flawed beauty, which used broken houses with mobile modules to use simple material expressions to fight against the luxury and order of the samurai class. The "breaking" of the vitality due to resistance can be said to be the beginning of the life hidden behind Japanese thought. "The Woman Who Bought a Local Newspaper" has a vitality and intriguing appeal because of these three breaks.
The reappearance of Yoshiko, the woman who bought the local newspaper, is the identity of the bar girl, whose feminine and moving demeanor is incompatible with the identity of the murderer. Shi Ami thinks: "When actors play brave styles, they must not forget to keep a 'soft heart' in their hearts. This is so that no matter how the actor shows the characteristics of bravery, it will not make the acting skills into rough means. The actor's performance of the brave wind body, while maintaining a soft heart, this thing itself will inevitably evoke the freshness of the audience. Another example is to play a beautiful workmanship play, and the actor must not forget the truth that he must maintain a 'strong heart' in his heart. Shi Ami used simple and unpretentious language to express the principle of philosophical opposition and unity of "rigidity and softness" and "taking care of one or the other". "The Woman Who bought the local newspaper" recounts the scene on the street:
It was an exceptionally warm day, one of the few good days of winter. The sun melts into the fresh air of the highlands. The town is in the middle of a basin. At the southern end of the basin, the mountains roll endlessly. Mount Fuji, wrapped in silver, rises halfway above the mountains and becomes a little blurry in the slightly rough sunlight.
The beautiful and cold natural environment and the heroine's plain dress, beautiful face, and lonely look take care of each other. The heroine's mood is so calm that it is very difficult to wonder whether she has just finished her vacation or has committed a murder that even the man has a palpitation.
Then the text quickly moves into three broken paragraphs:
When Yoshiko met the writer Sugimoto, once an envelope fell on the mat when Sugimoto changed clothes and untied the belt, Yoshiko picked up the envelope and looked at it, there was nothing written on both sides of the front and back, and there was also a seal, which could be seen as if it contained something like newspaper. To reassure herself, she wanted to pull it out and look at it, folding a scrap of a quarter of a half of a newspaper.
Yoshiko opened it and was surprised: it was a photo of Minister X x giving a speech in front of station K cut from the Koshin Newspaper. The photograph shows a crowd of black oppressors with several white stripes floating on them, and the minister stands slightly higher than the crowd to speak. The photo in front of Yoshiko's eyes was exactly the same as the scene she had seen with her own eyes. Yoshiko stared at the ceiling in a daze, her hand holding the newspaper shaking slightly.
Yoshiko's actions mean that she has a subtle connection to the murder case a month ago, and her subsequent psychological activities make her a suspect in the reader's mind:
Was this accidental, or did Sugimoto deliberately put it there to show me? She began to feel that Sugimoto had placed the envelope in the sake for some purpose. This is not accidental, it is by no means accidental.
We begin to suspect that Yoshiko was the real murderer of a man and woman reported in a local newspaper a month ago, but we are curious about whether Sugimoto knew Yoshiko's identity and how to dismantle Yoshiko's plot.
At Yoshiko's repeated requests, Takaharu Sugimoto invited a female editor of a magazine with whom he had a friendship. When Yoshiko persuades the female editor to eat sushi,
Sugimoto shouted, "Danger! Jun Tasaka! The shirt slammed into Tasaka's fingers, his face changed color, and he stood up and shouted, "There's poison in there." Taemi was stunned and looked at Sugimoto in surprise. Sugimoto stared at Yoshiko's pale face, and Yoshiko's terrible gaze was meeting the man's gaze, without any color. It was a pair of eyes that were going in and out of the fire.
It turns out that Sugimoto has long suspected that Yoshiko is the murderer, and the old newspaper that has been left behind is also a mystery, in order to let Yoshiko take the next step. At this point, the two were in a complete confrontation.
Broken Sandan ate the sushi that Sugimoto thought was poisonous. But in the end, the ending does not happen as the reader expected, Yoshiko is not poisoned, and the assumption that she is the real murderer does not seem to hold:
The warm sunlight shone directly on her face, and she closed her eyes to listen to the yellow warbler singing. After a long time, Sugimoto and Tasaka watched silently, and Yoshiko did not change at all. After a long, long time, Yoshiko did not move as if asleep. Just when the shirt was almost called to her, she sat up like a spring and I went back, goodbye. Yoshiko left this sentence and strode towards the same road. There was no change in her back, she walked firmly, and in a few moments she disappeared into the leafy woods.
The "broken" in this place is used thunderously, as if "suddenly stroke the ruler, the crowd is absolutely loud." Let the reader be both unexpected and unfinished, there is both a kind of joy and luck that Fangzi is not the murderer, and a kind of inexplicable confusion about what happened before.
Breaking three paragraphs and one link, step by step to guide the reader to make a judgment on the development of the story, but in the end it is still a fog, and everything is still unknown.
In noh, Ashimi compares the supreme art to "flowers", and mentions in the "Flower Biography": "The so-called 'flower' is the freshness that the audience feels in their hearts." The secret to keeping the freshness going: it's a secret way to surprise the audience. His so-called secrecy includes many aspects, the most important thing is to keep the most essential part, the "flower" of art cultivated by the dramatist, to keep it secret, for those who will surely shake the heart, the charm and taste, for the soul creation that emanates from the ordinary repertoire, must be carefully guarded and not leaked, "the secret is the flower, the public is not the flower."
In "The Woman Who bought the local newspaper", a series of actions for Yoshiko are objective descriptions, without revealing any information related to the case, and the reader also has a new judgment on the situation under the thrilling plot again and again, but each time will meet the new development of the story without preparation, and it is impossible to predict what will happen next. Shi ami mysteriously said to his descendants, "Not only should this 'secret' be made known, but even if you keep the 'secret' yourself, you must not make people feel it." If people know that someone is the secret, people will focus on being on the lookout, which will cause tension and be detrimental to success. If the other side does not concentrate, it is easier for us to win. The great utility of the so-called 'surprise victory' lies in the negligence of the other side in order to achieve our victory. Therefore, the 'secret' of the family must not be known to others, and this is the secret of the 'flower' that will never be lost in life." Not only should this "secret" not be made known, but even the fact that one keeps the "secret" should not be felt. If people know that someone is the one who keeps the secret, then people will concentrate on being wary, which will cause people to be nervous. If the other side does not concentrate, then our victory will be easier. The great utility of the so-called surprise victory lies in making the other side negligent in order to achieve our victory. Therefore, the "secret" of the family door must not be known to others, which is the secret of never losing the "flower" in life. "The Woman Who Bought a Local Newspaper" uses this method to make the plot vivid and give people a surprising feeling everywhere.
<h1 class="ql-align-justify" >1.3 Hurry: The Final Truth</h1>
The rush is the climax of the end, there is a sense of speed that will stop the waterfall from all the vibrations, clean and sharp. The author continues the development of the story as the reader wishes, in the end of everything to the plain, each to its place, each to its own, everything seems to be just a nightmare on a midsummer night, the dream is only a cold sweat and a return to the calm of reality, when the story is about to end, the end of the story is a suicide note written by Yoshiko to Sugimoto. In her suicide note to Ryuji Sugimoto, Yoshiko Shioda reads:
Sir, my criminal process is as you say, and there is nothing to correct. It was indeed me who killed those two people in Linyun Gorge. But why I killed them, it seems that you have not speculated. Let me tell you one last time!
I don't know how I need my husband, so this time I'm going to kill you. The method of killing is the same as killing Shoda. But you saw through it again. You suspect that the "sushi" in small boxes is poisonous, but the poison is actually placed in orange water. Because I think that after you eat "sushi", your mouth is dry and dry, and you will drink soda in one gulp. Soda, I brought it back from there. But it wouldn't be wasted, and I'd drink it in a moment.
In this way, the author let the end of the story stay at this moment, "urgent" to cover the ears, "urgent" to clean and sharp. All the mysteries have been solved, which makes people suddenly realize, and have a deeper understanding of the real inner world of the woman who bought the local newspaper. It turned out that Yoshiko was waiting for her husband who participated in World War II while suffering the hardships of life, and at the same time humiliated by the wicked, under the helplessness of the weak Yoshiko moved to kill:
Waiting alone, waiting for a long time. In order to live, I changed a lot of jobs. How difficult it is for a single woman to live. After that, I worked as a waitress at the "Angel" bar behind Nishi ginza. The waitress this job requires quite a lot of clothing. For me, who had no backing, it was quite difficult to buy clothes, and I put on what little savings I had.
I hate my husband and hate why he didn't come back sooner. If he had come back sooner, I wouldn't have suffered such a hellish sin. Maybe the husband will hate to find it in turn. I'm really sorry for him. I really think so.
The blandness of the "order" implies the killing machine, the tension of the "broken" and the weathering rain, and the rapidity of the "urgent" and the endless aftertaste. This is that the Japanese mystery novel is not a simple imitation of the detective novel from the aspects of theme, character to creative skills, but to make it conform to the aesthetic characteristics of the Japanese, tracing the cultural origin and the effect of unexpected encounters with noh drama.
<h1 class="ql-align-center" > ii. The structure is in "The Woman Who Bought the Local Newspaper"</h1>
Matsumoto Kiyoharu's use of the structure of "Preface Breaking" in "The Woman Who Bought the Local Newspaper" gives this short story an artistic taste in traditional Japanese aesthetics, living in many detective and speculative novels without losing itself, highlighting a uniqueness of traditional Japanese aesthetics and value judgments.
In the prologue, the heroine's slow play and expressionless attitude to the world make the story confusing, and the reader is also deeply attracted by the beautiful and elegant external beauty of the heroine Yoshiko, in the Japanese traditional drama Neng drama Seiami compares the stage actors to flowers, emphasizing the appeal of their performances, and Yoshiko as a withered flower under this criterion of judgment, which makes people fall for it and sigh for it; in the three broken paragraphs, even in the most intense stage of story conflict, the dialogue between the hero and heroine is very small, and the surrounding environment is silent, Without waves, the suspicion of the murderer in the quiet is carried out in countless psychological activities, the calm tone of the writing makes people depressed and has a new understanding of the world; the urgency is the final ending, which quickly presents the final truth, and the moment of the irresistible life and the disappearance of the beautiful characters is regarded as a moment that is moving, everything is empty, and with it comes the mysterious beauty in the traditional Japanese aesthetic sense.
<h1 class="ql-align-justify" >2.1 withered "flower"</h1>
In "The Woman Who Bought the Local Newspaper", the thin face of the protagonist Yoshiko and the feminine charm of the Japanese woman are deeply impressed, and the contrast between her beauty and some ugly phenomena in Japanese society in the Showa era makes people feel that she is fresh and vulgar, and at the same time of the struggle, she herself is also falling, but the conscience in her heart makes her say goodbye to the world in the way of ending her life, like a withered "flower".
In Shi Ami's aesthetic consciousness, "energy" should bloom on the Noh stage like a flower decorating the four seasons in nature, whether it is a pity flower with buds waiting to be released, a gorgeous flower in full bloom, a withered flower that is beautiful and mournful, or a withered flower scattered with ethereal spirits. The most basic elements of flowers lie in color and shape, that is, the beauty of form and tone, and the art can take the visual and auditory beauty achieved by the art as the core, and the color and formal beauty of the makeup and the formal beauty of the costume. This is the use of the external beauty of the flower to describe its artistic appeal as a noh performer. Further, it is the performance conditions that a noh performer should have, and the metaphor of "flower" is like "the flower of the body", "the flower of posture beauty", and "the flower of sound beauty". In "The Woman Who Bought the Local Newspaper":
Yoshiko walked in through the back door, said 'morning' to the boss, her partners, and the tea house, and ran into the dressing room to put on her makeup.
At this time, her voice was heard, and the word "early" also showed the subtle courtesy of Japanese women. When Yoshiko returns from buying a newspaper, when she meets with the writer, when she is preparing for the next murder, Yoshiko blends in with the cold scene, and the fresh atmosphere contains oppression, Yoshiko is like an elegant and simple flower, but crumbling in a depressing gray tone.
<h1 class="ql-align-justify" >2.2 to be quiet</h1>
"The Woman Who Bought a Place Newspaper" depicts the natural environment in many places, creating a very quiet surrounding environment:
The mountain path was wet with tears gushing from the ground. A variety of trees spray green and green, and the shades are suitable. A stunted silence oppresses people's ears.
The dialogue between the hero and heroine is not very much, and it is only when the murderer is pointed out at the critical moment that a series of dialogues are triggered, and more often than not, the inner activities of the characters:
She was starting to get a little confused. Her legs were tired, and she sat down on the mat, but did not have the heart to spread the futon. Sugimoto seems to know something, right? She began to feel that Sugimoto had placed the envelope in the sake for some purpose.
In Chinese opera, "seeking stillness with movement", the drama structure organizes story paragraphs, conflict scenes, and plot events into a dotted line beaded structure, and in the clues of the plot development movement of the beginning and the end, some relatively "quiet" scenes are carefully arranged, so that the characters in the play can express their emotions through large singing voices or dialogues, revealing their inner activities. The Japanese Noh, on the other hand, "seeks stillness with stillness", and the plot structure is very concise, almost without any fierce contradictions or character entanglements, focusing on the complex emotions that are difficult to express in the depths of the characters. In the "New Ancient and Modern Waka Collection", Ueki Fujiwara Kiyoshi once had such a japanese song: "Mist roots, flowers wet autumn morning." Wounded autumn in the curtain, who has said this. Shi Ami once used this washi song to hint at the style of "Yu Yan's mourning". In "The Woman Who Bought a Local Newspaper", the quiet writing method makes the story confusing in silence, and the heavy atmosphere makes the story always mournful and desolate and uneasy. Just like the natural scenery in the eyes of Yoshiko in the middle of the story, it is a psychological portrayal of the heroine:
The mountain path was wet with tears gushing from the ground. A variety of trees spray green and green, and the shades are suitable. A stunted silence oppresses people's ears: the sound of gunfire in the distance.
The beautiful natural environment reflects the heroine's disturbed psychological activities, which is a prelude to another murder.
<h1 class="ql-align-justify" > 2.3 The beauty of "mysterious"</h1>
The ending of "The Woman Who bought the local newspaper" is poignant and moving, it is Yoshiko's psychological complaint as a murderer, and it is also the complaint and helplessness of a vulnerable group in society, which makes people deeply moved by her while condemning her.
Influenced by the Confucian idea of "moderation", traditional Chinese aesthetics regards "neutralization" as an aesthetic ideal, requiring literary and artistic works to have "pleasure without obscenity, mourning without hurt", and moderate artistic expression. The Japanese aesthetic tradition is just the opposite, the unique aesthetic category of the Japanese, from the "Ancient Chronicles", "Japanese Secretaries" and the earliest poetry collection "Manyoji" and other works, began to germinate the concept of "mourning" beauty, and to the Middle Ages "The Tale of Genji" and other monogatari literature, gradually formed Japan's inherent aesthetic category - "material mourning", Noh Tai Doushi Ami introduced the "yuxuan" beauty of "emptiness" from the waka, and Shiami also transformed the category of beauty of "Yuxuan". This "mysterious" beauty is not limited to the beauty of the senses, but also becomes a spiritual beauty, an introverted beauty, tending to the zen realm of "nothingness". "In this way, the protagonist of The 'Energy' of Shi Ami is often 'transformed' from a person to an undead, moving from one shore to the other, from the natural (social) world to the supernatural world."
In "The Woman Who bought the local newspaper", Yoshiko finally left a suicide note, which is not only an anatomy of her own life course, a powerless struggle against society, and the beginning of the original beautiful soul to return to its place and regain a new life.
At the end of the work, Yoshiko drinks a poisonous drink, at this time she feels that death is the only way to end the bad life, and the fall of Yoshiko's life is like the withering of cherry blossoms, everything is empty. In noh drama, the content of the performance is often expressed as entering the large space from the small space, from the limited to the infinite, and the state of "emptiness" that is, "nothing", in order to elicit a kind of "empty silence" interest and receive the artistic effect of abstraction as a rich realm. The Japanese scholar Okakura Tenshin believes: "Beauty, or the life of all things, is more profound when it is hidden inward than when it appears outside."
The Japanese nation has more deeply understood Buddhism, realizing that all the sorrows and joys in the world are just clouds of smoke, and the mysterious and detached style of this religion is contained in the distant artistic conception of the Japanese national aesthetic consciousness, which not only makes the aesthetic taste gradually tend to be idle and quiet, but also enriches the connotation of the mysterious beauty. The ending of "The Woman Who Bought a Local Newspaper" is evocative precisely because of such a mysterious beauty.
<h1 class="ql-align-justify" > conclusion</h1>
The narrative mode of "The Woman Who bought the local newspaper" adopts a prologue and urgent structure, as if playing a wonderful and moving piece of music. "Prelude" is the free playing of various instruments in a slow rhythm before they are not ensembled, "broken" is the beginning of ensembles according to the theme of each instrument, and "urgent" is the fast ending.
"Preamble, break, and urgency" had a great influence on Japanese culture, and even became "the norm of Entertainment Works in Japan since ancient times." Although many modern Japanese novels have borrowed from the West, there are many places in terms of their artistic characteristics and artistic techniques that can be traced back to the narrative mode of traditional drama. It pursues the literary, musical, and dance nature of art, showing an indescribable slenderness, silence and subtle beauty in one movement and one stillness, and embodies the cultural spirit of the Japanese people. Using the structure of sequential, broken, and urgent paragraphs to make the writing beautiful and poetic, "The Woman Who Bought a Local Newspaper" achieves the perfect combination of yu sentimental beauty and concise plot.
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