The plot of Chun Yan's "one sleep and get married" in "The World of Man", in any case, is particularly eye-catching in this TV series and the original novel, and if you think about it carefully, it is not worth scrutinizing, contrary to human morality, and is essentially absurd.
What is even more absurd about this plot is Chunyan's mother, who is also an active planner who strives to break her daughter's place.
In "The World of Man", Chunyan's mother and Bingkun's mother have long planned in secret to give Chunyan and Bingkun the conditions for men and women to live together, and the plans formulated by the mothers of these two men and women finally pushed the implementation agenda on the Spring Festival of 1973, relying on the opportunity of talent.
Judging from the explanation in the play, Chunyan works in the bathroom, or the service pacesetter in the city, the vision should be very high, some of the Zhou family old three Bingkun in Mune, just a factory to do rough work, the labor intensity is significantly higher than Chunyan's bathhouse to work, there is no superiority in the work, Chunyan wishful thinking on Bingkun, it seems a little far-fetched, but the MORE incredible place of the TV series, is Chunyan's mother, even fell into the mother-in-law to see the son-in-law more and more like the situation, trying to set up a situation, Being able to get her daughter to do good things with the man she loves.
In the play, Chunyan's mother has long discussed letting Chunyan live in Bingkun's home, and Bingkun's mother leaves the house and lives in her house, so that a pair of orphaned men and widows can freely develop the kind of relationship that the two mothers expect in one room.
The setting of this plot, for a girl's mother, is simply incredible.
Chunyan's mother, as a person who has come over, should also see that Bingkun's hot face to Chunyan has always adopted a perfunctory attitude, under normal circumstances, as a girl's mother, the object of her daughter's relationship, with twelve points of caution, it is difficult to believe that she will send her daughter to a man's home like the mother in the play, and let them make mature rice.
Therefore, this plot setting in "The World" obviously has the surprise of shooting, but it lacks rationality.
The girl's mother's faint move soon went astray.
Overnight, Chun Yan was captured by Cao Debao, who could play the harmonica (in the original work, he played the cello), and took it upon himself to enter Cao Debao's bed.
Of course, later confessed that this was actually a bureau set up by Chun Yan, which was the same as the tiger girl in "Camel Xiangzi" who pretended to be pregnant and forced Xiangzi to be fancy.
Judging from Chunyan's later words, Cao Debao did drill into Chunyan's bed, but did not succeed, so half of Chunyan's words are correct, that is, the fact of drilling the quilt exists, but the pregnancy caused by the back is fictional.
However, Tiger Lady has long coveted Xiangzi after all, and Chun yan in "The World of Man", has always had a special love for Bingkun before, chasing him all day long, in the camera, she has long been lustful, can't wait to catch Bingkun is going to come up and kiss, it should be said that her psychology, has put Bingkun in a position that is not his, but she transferred her affection overnight, for women, it is almost an incredible emotional transformation process, but all this, in "Human World". Li is interpreted as a common plot, which obviously deviates from the normal mentality of a woman, not to mention that Chunyan is still a girl who grew up in a normal family in an alley, and it is difficult to believe that she can be so "full of people".
In fact, we see that when Chunyan and Cao Debao were in the nest, Chunyan's mother was still very angry, and Chunyan's father was even more angry, and even vowed to go to court.
Here the TV series appears with a "wear gang" setting. Because the operating mechanism of the Public Prosecutor's Law changed greatly during the Cultural Revolution, the functions of the courts were concentrated in the public security departments, and there was no such institution as a court.
In short, Chunyan's father still takes care of his daughter's reputation, which shows that the overall moral concept of this family is still quite traditional, while Chunyan's mother can decide on the daughter's marriage power without authorization at home, and even forcibly push her daughter to the cliff of loss, lacking basic reality.
This plot of "The World of Man" is how awkward to watch. To say that "The World of Man" is a realistic work, I am afraid it will be greatly discounted. In fact, the emergence of this phenomenon of violating common sense and common sense is a convention in Liang Xiaosheng's novels, and when investigated, it should also be investigated from Liang Xiaosheng's creative style to find causes and consequences.
This involves three characteristics of Liang Xiaosheng's novel, which we will summarize briefly:
The first is ritualization.
One of Liang Xiaosheng's early novels, one of the favorite plots, is the sudden anger of the characters, giving the other party a slap, through this form of violence, to generate a ritualized action.
This ritualization was even practiced by Liang Xiaosheng into his real life.
Liang Xiaosheng graduated from college and stayed in Beijing, disgusted by the dirty mess of the streets on the edges of his area, and stubbornly fought against the usual style of this street, until one day he calmly looked at this most common sound of the city.
We can use an action in "Syracuse" to see how far this ritualization is false.
Yao Yuhui, a Cadre of Zhiqing in the novel, still does not allow others to insult Zhiqing's holy status after returning to the city, and when she hears her brother speak insultingly and insulting Zhiqing, the novel writes that she "jumped up violently and slapped her brother hard."
This action has the ritualized character of the stage, and in fact, in reality, many of us will not turn into a ritualized form of violence when faced with this kind of verbal discord.
The second is to establish alienation.
It is "differentiation", that is, the use of inverse to show difference. Liang Xiaosheng's early novels are known for their themes of Zhiqing, and they strive to strengthen the heroism of Zhiqing. In the overall context at that time, Zhiqing was mentioned as a factor in a failed movement, and Liang Xiaosheng's intention to exist in Zhiqing was elevated, reversing the characterization of the times, and finally draped a heroic halo for Zhiqing.
However, Liang Xiaosheng was soon repulsed by his beautification. Because he claimed to be the spokesman of Zhiqing, in reality, Zhiqing encountered difficulties, so he asked him for help and help, and Liang Xiaosheng had no ability to help his peers who came to him for help, and in the process, he also saw all kinds of inferior roots in those Zhiqing who approached him.
This directly led him to re-examine the value content of the Zhiqing group, and thus also affected the overall tone of his Zhiqing novel creation. In fact, the tone of his early blind sanctification of Zhiqing took a sharp turn of one hundred and eighty degrees.
The most typical symbol is that the upper and lower parts of "Syracuse" are completely different in style, and the upper part is that as a spokesman for Zhiqing, he strives to give sympathy and praise to the survival of Zhiqing after returning to the city, just like when the wave of layoffs began, people in the literary and art circles painted layoffs as a fashion into a tragic color.
But in the lower part of "Snow City", Liang Xiaosheng changed a language front, revealing the despicable factors in the Zhiqing group, and he finally realized that while pleasingly pulling up the beautiful colors of Gao Zhiqing's body in the upper part, he also lifted himself to the point where it was difficult to ride the tiger, and finally borrowed the lower part of "Snow City", he abandoned the lyricism of the heroic and tragic emotions of Zhiqing that had been rebellious in the past, and returned to the short description of Zhiqing's life in his parents.
This characterization of Zhiqing has continued into "The World of Man", and he has no longer created the heroic myth of Zhiqing in "The World of Man", but has returned to the ordinary description of reality.
However, Liang Xiaosheng's innovative creative tendencies will not fade with age. He still sets up some plots that violate common sense to meet the requirements of "oppositeism" in his heart, so in "The World of Man", he has been unable to reverse the characterization of the era as he did with the theme of Zhiqing before, and raise Zhiqing to become a hero of genesis, but he still can't hold back his creative impulse, and when he reverses the real life situation of reality, he creates some novel plots and emotions that violate the conventions of life to conform to his creative habits.
This desire of his is too strong, resulting in the unrequited love affair in "The World" being laid out again and again.
Chun Yan's drill quilt plot is also a reproduction of a man's drunken disorder to some extent, although in fact she caters to such male-led harassment, but this fact in the play is as an event that has already occurred and set off waves within the family, and later it is Cao Debao who becomes the son-in-law of the upside-down door to resolve the contradiction. Of course, the TV series does not mention that after this crimson incident, Cao Debao agreed to all the conditions of the Chunyan family, including compensation, inverted doors, etc. can be called the mourning and humiliation clauses in love, but it is enough to show that a girl was drilled by a strange man, which is contrary to normal social morality. If in another case, it is a sexual assault.
Also in Zheng Juan's encounter, we can still see this kind of novelty and unusual characteristics that violate the reality of life. Zheng Juan was pregnant, and it was in the case that one of her ribs was broken, and she reluctantly accepted the violent man's promiscuous sexual behavior. This is almost the same as what happened to Chun Yan, and it is also an unconventional act of violent sexual assault.
It can be seen that Liang Xiaosheng in "The World of Man" in a large area by setting up some unconventional abusive behaviors that can be said to be rare in a hundred years in real life, completing the ups and downs of his story, just as Liang Xiaosheng used the death of life in a large area to create the novelty and transcending novelty of his novel when he debuted, such as his first award-winning novel "This is a Magical Land", just a few thousand words, but there are the deaths of three main characters, through the high-density death of these characters, to complete the novel thematic structure of his novels.
When Liang Xiaosheng returned to the creation of real-life novels, he still inherited the mantle of using "novelty" to build his shooting surprise, one of the important quadrants is to use the abnormality of love to create abnormal emotional ties in interpersonal relationships, such as "Human World" even uses gay elements to create the sword of interpersonal relationships.
This can also be seen as a characteristic of all novels, but its shortcomings are at the expense of the authenticity and rationality of reality.
The third is sacralization.
This is closely linked to ritualization. Including the sacralization of death, the sacralization of emotions, the sacralization of action, and the sacralization of language, it gives people a feeling that the characters are like a show, like an appearance on the stage, it looks like a very sense of action, in fact, carefully consider it, it is just an imagination created by Liang Xiaosheng with words.
Therefore, we can see that Chun Yan's "one sleep and get married" trick is the inevitable result of Liang Xiaosheng's creative system of cleverly setting up names and working hard to outline the storyline.
It reminds us that if we think that Liang Xiaosheng has followed the principles of realism from beginning to end, it is obviously a complete misunderstanding and mistake that does not cut into the secret of Liang Xiaosheng's true creation. Perhaps critics who hold such views will be secretly snickered and secretly ridiculed by Liang Xiaosheng.
Therefore, the author feels that we, as an audience, must also maintain a sober and alert attitude towards the plot set by Liang Xiaosheng, so as not to be biased by his habitual conventions.