"The World of Man", as a novel created by Liang Xiaosheng, who is nearly seventy years old, is obviously different from his previous works.
When he was young, Liang Xiaosheng's novel creation was full of a kind of hostility.
The characters inside, if they don't agree, they add up their fists and feet.
It can be counted that in Liang Xiaosheng's novel, "slapping a slap" is a very frequent action.
Even in "The World of Man", we can still see the phenomenon of "slapping", which appears very frequently.
What we see in the play is that Hao Dongmei is dissatisfied with her mother's arrogance towards the Zhou family in her bones, and she can't help but speak strongly, and her mother can't listen to it anymore, and directly slaps her with a decisive return.
When Zhou's father washed his feet for his son Bingkun, he heard Bingkun say that he had talked about an object and dragged an oil bottle, and Zhou's father immediately gave his son a physical fight back.
This phenomenon of expressing inner emotions with "slaps" is attributed to Liang Xiaosheng's love for "ritual" that liang Xiaosheng habitually exudes in his novels.
Why is there such a "ritualistic" scene and dynamic depiction?
The essential reason is that Liang Xiaosheng has an excessive emphasis on self-sacralization and narcissism in the reality situation he imagines, and always believes that a different emotion must be expressed in reality, and this emotion must be reflected through the "sense of ceremony" this ingenious node to give special lifting and strengthening.
Liang Xiaosheng's early novels are influenced by this "sense of ceremony", and the character dialogue is completely drama-like, and as soon as the character catches the opportunity, he is there non-stop, verbal and sword-wielding, tit-for-tat, you come and go, and you are happy.
But this kind of dialogue is difficult to say that it is a language exchange in life, but more of a solemn imaginary situation imagined by the author.
This tendency, which reached an obnoxious level in Syracuse, led to a mediocre TV series based on the novel after it was broadcast, far less than the response of another TV series adapted from the novel, "Tonight There is a Snowstorm".
Later, Liang Xiaosheng probably realized that this kind of overly pretentious dialogue did not fit the real situation, so he deliberately avoided this early setting in his writing.
In "The World of Man", we can see that Liang Xiaosheng's creative style has undergone tremendous changes. In his early novels, he was good at the function of "description", which was greatly weakened, and in "The World of Man", Liang Xiaosheng used an arranged "overview" language to discuss the content he wanted to show. This is not a description, but an explanation.
Before Liang Xiaosheng's brilliant depiction of Jinxin embroidery, it is difficult to see in "The World", Liang Xiaosheng is too lazy to rhetoric, for example, before he described the flowers as beautiful, using a lot of words, we randomly excerpted a description in "Snow City": "Dozens of pots of flowers are hanging in the air, some are placed in the terrazzo case, and some are placed on the ground. Junzilan crab claw lotus kumquat pomegranate peach blossom camellia red purple white dark green light green dark green, pleasing to the eye, fragrant. ”
Such a description, stacked bed frame house, looks like a blossom, is the writer's flesh and blood when he likes to write, and after middle age, writers like to "write the change". Liang Xiaosheng's "transformation" is to cut many adjectives and leave a skeleton, and he even adopts some of the terms of Chinese novels in the language of "Human World", which is unimaginable in his early style of imitating Western novels, especially Hugo's works as a guideline.
Now when Liang Xiaosheng writes flowers again, he will not use many modifiers and directly say: "The flowers are blooming." ”
Liang Xiaosheng's literary style was greatly influenced by Hugo, and in "The World", which has a strong tendency to "change the law in his later years", he still will not lose his enthusiasm and enthusiasm for the practice and use of Hugo's literary style. It is also his most obvious little inheritance of the writing style of his youth.
What is Hugo's style?
It is a grand discussion, and a lot of metaphors are used in the discussion to form a rhetorical speculative system.
Let's find a sentence from "Snow City" to see how Liang Xiaosheng understands Hugo's literary style: "He gambled with that circle, and the bet was himself." ”
In "The World of Man", he still uses the magnificent criticism style of Hugo, jumping out from time to time, and making a description of the progress of the times, which overlooks thousands of miles of his literature.
Every writer has a predecessor he imitates and learns from. Liang Xiaosheng's language teacher is the French writer Hugo. The master of Mo Yan's language was the Russian-Soviet writer Sholokhov.
What is particularly interesting is that Liang Xiaosheng also has his own unique macro theory of the sexual affairs of men and women in "The World of Man".
In "The World of Man", once Liang Xiaosheng describes Bingkun and Zheng Juan, he likes to pull on "sexual matters".
This is mainly because Bingkun is the protagonist in the novel, and Liang Xiaosheng completely abandons the writing tendency of the Zhiqing generation as the protagonist in the previous novel, and no longer shows the suffering and hardships suffered by the Zhiqing generation, but stands in the survival chain of the young people who stay in the city.
Liang Xiaosheng's empathy this time, through "The World of Man", successfully let the audience feel that the young people who stayed in the city are not smooth sailing, all the way to The Rainbow, and their difficulties are even no less than those of the young intellectuals who have been sent to the vast world.
Liang Xiaosheng sighed in "The World of Man", taking the sexual pleasure of young people in the eighties as a kind of happiness of the whole society, and publicized it.
Such a description is unbearable.
See how Liang Xiaosheng unfolded his '80s "sexual arias."
When Bingkun and Zheng Juan's "bed feast joy" is mentioned in "The World of Man", he can't help but "talk about juvenile madness" and sacrifice the stunt of Master Hugo, who has always been good at macroscopic description: "This is a very distinctive phenomenon, due to the extreme poverty and monotony of material and spiritual life, everything that is considered worth celebrating by the people at the bottom is either presented in the form of collective carnival or expressed in the sexual joy between husband and wife." In an era when they were reluctant to spend money on bottles of wine, the latter way of celebrating not only did not cost money, but also had the highest happiness index. ”
After a few chapters, he couldn't help but jump out and begin to exert his "Hugo body" for this unique beauty: "In the era of material scarcity, cultural and entertainment life was lacking, and more than ninety-five percent of Chinese did not have a book at home. Among thousands of low-level young people, talking about love is almost the only romantic thing, and it is probably a romantic thing that has only one chance in a lifetime. Whether before or after marriage, flirting brings them far more entertainment satisfaction than crosstalk and comedy. As for sexual matters, it is true that among them they have always played a role in mutual reward from the flesh to the psychology, and often become a magic weapon for them to resist poverty, misfortune and difficulties and to persevere in life together. Of course, the premise is that they love each other. ”
Liang Xiaosheng's discussion has his cleverness, but there are also places that make people feel ridiculous. The exaggerated nature of this section of Liang Xiaosheng is of great significance in the lives of the people, and it is obviously Liang Xiaosheng's exaggeration.
In an era of poor material and spiritual life, whether people rely on "sexual pleasure" to entertain themselves is a question worth discussing.
In fact, Chinese has always had a saying called "full of warmth and lust", if full and warm are poor, what fun is desire?
And how could Liang Xiaosheng speak for the entire group of people in the eighties for their private pleasures? Nor is it possible for him to send a poll to investigate whether the people's private interest is concentrated in what Mr. Lu Xun called "three inches below the navel."
It is precisely because no one has found any rebuttal evidence, so Liang Xiaosheng has the courage and courage of the arrogance and dry cloud, where there is a pervasive existence of sexual affairs.
Liang Xiaosheng relied on the chaos of the inability to "prove his innocence" here, so he made his bold judgment of the near truth of the pleasures of the people of an era.
Why Liang Xiaosheng in the second part of "The World of Man" into the eighties of the description, suddenly surging with passion, lamenting sexual affairs, the author speculates, this is related to Liang Xiaosheng's own marriage time, but also in the eighties.
Liang Xiaosheng is quite interesting. Judging from his early novels, his romantic imagination of women is indeed stunning and should be able to attract a large number of female fans.
Liang Xiaosheng took a photo while studying in Shanghai
These female fans, if one is willing to sell true feelings to Liang Xiaosheng, Liang Xiaosheng should also gain a full harvest in the love field.
However, the 1980s were an era of high emotions and a time of rampant materialism.
Liang Xiaosheng graduated from Fudan University in 1977 and was assigned to work in the North Film Studio, which seems to be the proud son of the times, but the economic foundation is very weak.
In order to save money on travel expenses, he never returned to his hometown once in the years he studied at Fudan University in Shanghai.
We can fully understand from the life experience of Zhou Xiaosheng's father, who can only return home once in three or five years, based on Liang Xiaosheng's father in "The World of Man", and fully understand the reason why Liang Xiaosheng has not returned home during his studies.
Just entered the North Film Studio, Liang Xiaosheng was shy, and love was also subject to the economic foundation in the eighties, so Liang Xiaosheng failed to collide with love for a long time.
It was not until 1982, when he was 32 years old, that he entered the palace of marriage.
Liang Xiaosheng with his wife and children
Among them, Liang Xiaosheng has not profited from women's favor for a long time, and another reason is that Liang Xiaosheng is too short.
In his written descriptions, Liang Xiaosheng will be considered to be very manly, and he will be imagined as a tall and handsome man.
However, Liang Xiaosheng's height is only 1 meter 68, wearing the "hate sky high", how much can reach 1 meter 70, for a man of such a height, in terms of mate selection, obviously does not have an advantage.
Even his later wife, who directly called Liang Xiaosheng a "third-class cripple" in Beijing's environment.
When Liang Xiaosheng's wife was fourteen or fifteen years old, she was still living in the countryside, and in Liang Xiaosheng's words, she was naïve to the point of being a little silly. Liang Xiaosheng's strength is reflected in his words, in reality, he knows that his weaknesses are too much, and he did not hide from his future wife, he told his girlfriend at the time that he had stomach disease, liver disease, early heart disease, but all of this did not stop the persistent girlfriend from getting close to Liang Xiaosheng.
At that time, Liang Xiaosheng lived in the tube building, a unit of people, sharing a corridor, Zhang parents Li Jia short, want to hide can not hide, this girlfriend, since the first time to step on Liang Xiaosheng's dormitory, she insisted on this green mountain, no longer willing to relax, resulting in the fact that Liang Xiaosheng's fiancée, so Liang Xiaosheng finally ushered in the second spring of his life in the 32-year-old eighties.
Liang Xiaosheng with his father, wife and children
The good memories of the 1980s were deeply imprinted in Liang Xiaosheng's memories, and thus appeared in the wonderful theory that the Chinese people in "The World" regarded sex as a feast of life.
Want to understand the causes and consequences behind this, do you think Liang Xiaosheng also has his cuteness?
Literature, in a way, is autobiography. In "The World of Man", there is a secret voice of Liang Xiaosheng. Writers just regard their own private secrets as the empathy of the times.