Zhou Rong in "The World of Man" is a selfish person in the impression of many people, and some viewers directly said that they hate this character.
In fact, in Liang Xiaosheng's original work, Zhou Rong is a very positive character, pinning on Liang Xiaosheng's love for her.
To some extent, Zhou Rong's body carries many elements of Liang Xiaosheng's personality.
That is, clinging to one's own dreams, firmly grasping a goal, and moving forward without complaint and regret, running towards the benchmark that you have set may even be a utopia.
In the description of the novel, Zhou Rong is not selfish in the Zhou family, but is embodied in selfless feelings everywhere.
In the novel, it is written that when she bought clothes when she was a child, she always let new clothes for her brother and brother, and she wore old clothes.
During the three years of difficulty, in order to leave the rations for the brother with a large belly at home, he deliberately pulled a few bites and said that he was full. What should I do if I am hungry? She stole the ice chips shoveled from the water tank, and eventually fell into a stomachache.
It can be said that Zhou Rong is an empathetic girl who shares worries for her family in the novel.
Later, one of the family had to go up to the mountains and go to the countryside, and when this dilemma was placed between her and her brother, she did not hesitate to choose herself.
She came to Guizhou to come to the man of her choice, which was a bold choice for her to pursue love, but it also included a consideration for sharing the worries of the family.
And for the choice of love, rather than saying that there is an element of desire in it, it is better to say that she pursues a kind of spiritual purity, spiritual purity, in her young heart, poetry gives her spiritual support, so that she embarks on this unpredictable road that is completely the pursuit of spiritual satisfaction.
In the novel, she is described as "what else can you believe in besides love?" "She thought she had come to earth on a mission of salvation.
It can be said that Liang Xiaosheng gave her a spiritual texture like a virgin.
And Zhou Rong's emotional intelligence in Liang Xiaosheng's pen is also quite high. In the novel, it is written that in her twilight years, she wrote a long novel, "Sons and Daughters of Our Generation", which was divided into three volumes, and later compressed into two volumes.
This novel, written about the story of the children of the Zhou family, is actually the story in "The World of Man".
The novel is a set of novels, which is a model that has been used in classic works such as "How Steel is Made" and "Dream of the Red Chamber". It can be seen that this three-volume novel written by Zhou Rong is highly overlapping and closely related to Liang Xiaosheng's "Human World". In particular, in Zhou Rong's novel, the true meaning of the love between Bingyi and Dongmei is explained, and the truth of this love is a big theme in "The World of Man", that is, the social class, that is, the real problem brought about by the other title of the class in the new era.
Liang Xiaosheng has always used the word "class" as the basis for his understanding of Chinese society. He wrote a book called "Analysis of All Levels of Chinese Society", which can be said to epitomize this thinking of Liang Xiaosheng.
"The World of Man" is nothing more than borrowing the text of the novel to continue to think about such a question. There is a huge class gap between Bingyi as a descendant of construction workers and Dongmei as the daughter of a high-ranking cadre, and in Liang Xiaosheng's view, these two classes would not have been related, but in a special era, that is, when Dongmei's parents in the novel were in distress, it contributed to the marriage and love between Bingyi and Dongmei, but there was always a huge gap between them.
Whether in the novel or in the TV series adaptation, Hao Dongmei's family has never come to the slum where Bingyi's family is located.
In the TV series, governor Hao, who has long died in the novel, is deliberately written as an official reinstatement, with the intention of portraying an image of a high-ranking cadre with the new ideas of the times who breaks down class barriers, but Governor Hao has not completed his mission, in the play, he has repeatedly thought of visiting the slum where the Zhou family is located, but he has broken the contract again and again, and finally when he dies, he has not been able to achieve his expectation of breaking the class barrier.
The TV series resurrects Governor Hao, which can be said to capture the essence of "Human World", and through the fictional conflict of "two cans of tea", which is not found in the novel, to reveal the huge impact of the class difference between the Hao family and the Zhou family on the psychology of the characters.
And this class difference, among the characters in the novel, only Zhou Rong can see it most clearly, so in the long novel she wrote, "Our Generation of Children", she deeply analyzed the love between Bingyi and Dongmei, which is only a kind of love accident and a by-product of fate, he believes that "this fate is not universal, it is probably directed by a specific era or the appearance of a talented woman - the marriage between my brother and my sister-in-law is like this." ”
This passage is too profound, because the love between Bingyi and Dongmei in "The World of Man" to break the class gap is only a special case, the class difference in society has not completely changed, and the real equality in the world is still a distant outlier. Liang Xiaosheng's profundity is here. This kind of profundity, Liang Xiaosheng gave to Zhou Rong in the novel, obviously Liang Xiaosheng fully believes that Zhou Rong has such an IQ and emotional intelligence.
In the novel, Zhou Yue is wrapped up by her father and taken abroad, and Zhou Rong, in order to love her daughter, comes to France, where she is not familiar with life, to find her daughter and bring her back. Such a process of searching for her daughter lasted for ten years, until Zhou Yue completed her studies, and she returned to the motherland with her daughter. It can be said that Zhou Rong used her love for the motherland to impress her daughter and took her back to her own country.
Now in the TV series, it is mentioned that the Zhiqing Tao Junshu of that year also came to France, which is not without the meaning of ambushing the story behind the TV series.
Some people think that Zhou Rong's failure to ask her daughter Zhou Yue (called Feng Yue in the TV series) is a manifestation of her selfishness. The problem is that when Zhou Rong took her daughter home in 1976, she delayed her trip because she participated in the mourning week activities, causing her daughter to stay in the Zhou family. After that, she went to Peking University, went to graduate school until around 1985, and then returned to her hometown city, because she had no house, her daughter had to live in the Zhou family. Here, there is no sign that Zhou Rong does not ask her daughter and only wants to enjoy herself.
Now in the TV series, Zhou Rong has been crowned with the notoriety of selfishness, but the TV series adaptors have deliberately created a series of sequelae caused by chance encounters, coincidences, and collisions that only exist in a series of romance dramas in order to highlight the dramatic conflict.
Judging from the content currently being broadcast, the TV series concocts several series of dramatic conflicts that do not exist in the original novel.
The part involving Zhou Rong is the breakdown of her marriage with Feng Huacheng.
In the original novel, as early as 1985, she was with Feng Huacheng, and then she graduated from Peking University and returned to her hometown. Feng Huacheng has been staying in Beijing, and there is no marriage and romance routine in the series of third parties in the TV series.
In the TV series, the time of Zhou Rong's marriage breakdown is placed in 1990, and a character is added- Miaoling Wenqing Wang Zi, which becomes the last straw for the disintegration of Zhou Rong's marriage with Feng Huacheng.
In the original novel, as soon as Feng Huacheng returned to Beijing, he relived his ex-wife Yuanmeng, and later read countless women, and Zhou Rong had to break up with him.
In the TV series, the emotional entanglement between Zhou Rong and Feng Huacheng is incorporated into the various contradictions of the Zhou family, including: Luo Shibin's struggle for Zhou Nan, the hazy good feelings of Zhou Nan and Feng Yue, and the difference in the family's attitude towards Nan and Yue's love, so that the scattered flow accounts of the past novels without entanglement in dramatic conflicts tighten the plot line.
The setting of these plots can indeed be seen that the adaptor has moved his brain, so that all aspects of Zhou Rong have added more emotional dimensions than the brush strokes in the original novel, and in this dimension, many of the cognition of Zhou Rong are imposed on her by Feng Huacheng, who is on the opposite side of her, and in fact, Feng Huacheng's selfish accusations against Zhou Rong are completely out of nothing, and it is the deviation of the position that leads to the bias of the conclusion.
Because of the increase of these dimensions, it does add a lot of extraneous branches to the plot of "Luo Shibin vying for Zhou Nan" in this play, especially the refreshing love of Nan and Yue, which is only a vague existence in the novel, Liang Xiaosheng's creative interest is placed on the previous generation, and the emotional changes of the next generation of young people, Liang Xiaosheng is simply perfunctory, so Zhou Nan and Zhou Yue in the original novel, that is, sloppy mentioned and slightly summarized.
The adaptor must set up a dramatic conflict between the ring buckle and the step-by-step in this period of time, that is, in the time period of 1990, so the love of Nan and Yue is specially proposed, forming a unique emotional closure circle of ups and downs.
The adaptor, under the large dramatic framework of determining the love between Nan and Yue, quickly found the logical paradox of this love affair, which indeed shows that the adaptor deeply read (but not necessarily read, or pretended to be confused) Liang Xiaosheng's original work, and substituted into Liang Xiaosheng's preset loose plot, from which he found a psychological confrontation point that can create conflict.
This logical paradox, that is, the love between Nan and Yue, involves an ethical issue, because Zhou Nan has always been considered to be Bingkun's biological son, then, Zhou Nan and Zhou Yue are cousins, if the previous generation wants to agree to the love of Nan and Yue, then it is to admit that there is no blood relationship between Nan and Yue, which is bound to expose the problem of how Zheng Juan is pregnant, and the final result is that Zheng Juan's personality is facing a great threat of collapse.
Therefore, under the logical framework of this ethical paradox, Zheng Juan holds an attitude of opposing Nan and Yue falling in love, and Zhou Rong supports Nan and Yue to fall in love with her daughter for the purpose of pleasing her daughter, so that in the TV series, there is a plot in which Zhou Rong has to mobilize Zhou Nan to use his love to save Feng Yue who enters and exits the dance floor, does not want to make progress, and slides into the edge of the fallen cliff. Stop Feng Yue's self-abandonment.
In this chapter, many psychological details of Zhou Rong that are not in the original work have been added, such as her tendency to support Nan and Yue falling in love, thus highlighting her heart to indulge her child's early love out of the consideration of saving her daughter, although this plot is full of detail tension, but it is very unreasonable, which is the same as in the opening chapter of "The World of Man", Chunyan's mother connived at her daughter to sleep in bingkun's house.
Because obviously, as a mother, it is difficult to believe that in order to cater to her daughter, and encourage her daughter to throw herself into the waves of love, and the daughter in the play is still in the second year of high school, at this time, there is basically no point in discussing the child's love, but in the TV series, it is a painstaking interpretation of the encounter on the road (Dongmei saw Zhou Nan and Feng Yue hugging each other), the hero saved the United States (Zhou Nan ran away for Feng Yue, the two embraced each other), the family collided (Zhou Father was at Zhou Rong's house, Seeing Zhou Rong and Cai Xiaoguang hugging each other for comfort) This series of coincidental and unexpected scenes seen through peeping, thus making the story paragraphs in 1990 twist and turn bizarre and thrilling. Some settings obviously deviate from Zhou Rong's provisions in the original work, thus creating the impression that Zhou Rong's character is selfish.
The adaptation of the TV series in this paragraph can be said to be on the basis of the brief explanation of the original novel, making something out of nothing, but it is placed under the framework of Zheng Juan's strange life, constantly corresponding to the fundamental story motivation of the novel at the beginning when Zheng Juan was pregnant with Luo Shibin's child, it should be said that it was quite successful in the adaptation, and in all fairness, Liang Xiaosheng's unique plot setting at the beginning was played to the extreme.
But in this process, Zhou Rong's personality also shows a variety of aspects, and some of these aspects are more from the female adaptors' wishful thinking about the role, showing Zhou Rong's understandable multidimensional time and space as a wife, mother and woman. These tones enrich The connotation of Zhou Rong's personality, and should not produce any kind of stain on her image, after all, Zhou Rong's motivation in the play is basically reasonable and in line with the character's common sense. The only unreasonable thing is that Zhou Rong encouraged her daughter to fall in love with Zhou Nan, and in the novel, it was not until Zhou Nan succeeded in her studies and came to France to meet Zhou Yue that she changed her past view of preventing the two from falling in love, and instead supported her daughter and Zhou Nanyu to become a good thing.
And Liang Xiaosheng's interest in "The World of Man" is not in the emotions of these Qingqing and my little children, which is very simple, but in the hands of the female adaptors of the TV series, these parts have become the ultimate paradise for them to show their skills and make waves.
In this sense, Liang Xiaosheng's rigorous depiction of reality has become a laying out and laying out of a romance drama in the TV series. But this is also a helpless move, according to Liang Xiaosheng's original work directly filmed, it is impossible to make a LIVELY TV series before and after, and the adaptation of the TV series has changed Liang Xiaosheng's original work beyond recognition. How many years later, which one can truly represent the original style of "The World of Man"? This is the true meaning of the so-called "danger of electric shock" in the literary world.