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Organizer of Shanghai Federation of Social Sciences
There are academic ideas EXPLORATION AND FREE VIEWS
The following articles are from the official account "FD Modern and Contemporary":
"It's Better to Forget the Flaws: Gao Yuanbao's Self-Selected Literary Criticism" is the first collection of the author's new works on contemporary literary criticism and theoretical research in the past six or seven years. It is called "Selected Works", but it is not an "anthology" of "old works", but a completely new book. For the author himself, the scope of the discussion in this book has been expanded, including Wang Meng, Zhang Wei, Jia Pingwa, etc., which the author was familiar with in the past, as well as Wang Zengqi, Lu Yao, Mo Yan, Xia Shang, etc., who the author has discussed less in the past, as well as Liu Qing, Zhao Benfu, li Youre, etc. that the author has not discussed before. The main purpose of the expansion of the scope is to seek to present the whole picture of contemporary literature.
The works of writers discussed in this book have also expanded in the span of time. In the past, the author mainly focused on the current literary phenomenon, and this book extends from the "new century" to the 1990s, the "new period", the "Cultural Revolution" and the "seventeen years", not only focusing on the breaking of the new works, but also examining the resurrection of the old works, both the more comprehensive commentary of the writer's theory, and the careful reading and reinterpretation of some important works. Most of them are still case studies based on points and aspects, but they strive to radiate the entire contemporary literature, strive to grasp the historical context of contemporary literature, and also strive to explore the internal relationship between contemporary literature and modern literature.
In terms of critical attitude, the author is more cautious than ever, and has more patience and piety for contemporary literature. But this is a respect for literary history itself, not a deliberate pursuit of the "classicization" of contemporary literature. In terms of critical language, continue to explore a pragmatic, simple and natural style, and empty theories or superfluous words can be avoided. This is the author's effort to correct his past flashy style, and perhaps a reminder to his peers in the critical community.
/Contents/
Self-prologue
Part I
Writers and works
Shanghai makes Gaoyou crazy - Wang Zengqi's "hometown novel" is not understood
Traveling with the "Evil Eater" - How Wang Zengqi's Novel Writes "Eating"
Heaven leaks, people can not leak - commenting on Zhao Benfu's "Heavenly Leaks"
Polishing the Mirror of the "Past" - Reading Feng Jicai's "Artists"
Write "unbearable" and "terrible despicable" - Zhao Benfu's "There is a Fish in the Desert" after reading
The reason for the resurrection of the "old work" - a reading of "This Side of the Landscape"
Examining or Considerate - Rereading Wang Meng's "Activity Transforms into Human Form"
A Cry of Su Fang for Thousands of Ages - One of the notes on reading the History of Entrepreneurship
A footnote for Lu Xun's words (1) - Rereading "White Deer Plain"
A footnote for Lu Xun's words (2) - Re-reading "Ancient Ships"
Chronicles and Panoramas before and after China's Early Reforms: A Peruse of The Ordinary World
The Butterfly of YiguangZhuang, the Hairuo Luju People - Jia Pingwa's "Temporary Sitting", "Waste Capital", "Yamamoto" Reading Notes
Writer Zhang Wei's three classical books
Childhood Memories of Avant-Garde Writers: Rereading Yu Hua's "Shouting in the Drizzle"
Space, Era, Subject, and Language: On the Rewriting of "Shanghai Literature" in the East Coast Chronicle
Difficult to understand Yuan Ling
Part II
Literary History and Literary Criticism
"Literature of the Republic of China", or "Literature of the Enemy of the Republic of China"?
"Creation" and "Discussion" – an angle of reflection on the "New Culture Movement" and "New Literature"
On "Authority": An Idea of Contemporary Chinese Literary Creation and Research
"Major themes" are renegotiated
Twenty years later, the "Humanistic Spirit Discussion" rethinks
Identity Transformation and Conceptual Change: An Overview of Chinese Literature in the Past Thirty Years
A glimpse of the "Literary Shanghai Army" in the past twenty years
The Transformation and Reconstruction of the "Writer's Theory"
The trend of "historiography" in the study of modern and contemporary Chinese literature
Literature is the art of using words to play the mysteries of language
Why "substitute" thesis for thesis
Eight Topics of Contemporary Chinese Literature and Criticism
How do I start "criticizing" (Daibu)
Thousands of years of crying have su fang
——Read the notes of "History of Entrepreneurship"
Gao Yuanbao
1
Language problems are extremely challenging for Liu Qing. His peasants are not without their own language. In their own world, the language of the peasants is extremely rich, so that writers must first learn the language of the peasants to write about the peasants. Liu Qing is good at learning, refining and using the language of farmers, which is well known to everyone.
However, even liu Qing, a writer who is very familiar with the language of the peasants, finds that the language of the peasants is sometimes so poor, because the peasants he wants to write about are struggling between the gap between the old and the new worlds, and this situation makes them lose their sense of security in the world where they used to live, and they are pushed into a completely unfamiliar world, and suddenly become poor in language, and even unable to speak at all.
One of the missions (or pioneering) of Entrepreneurship is to make farmers who have just stepped into the new world learn what they would not have said.
2
The most typical way for peasants to learn to speak is the first part of the "History of Entrepreneurship", Chapter 11, when writing that at the beginning of the land reform, the working group selected Gao Zengfu, the "leader of the peasant association group", as the focus, and asked him to "complain" at the mass meeting. The activist gladly accepted the order, often at home "standing alone on the ground, treating the bottles, basins and saucers on the vertical cabinet as listeners, practicing complaining." But it's a very difficult task," he always said, "He always said that it was inconsistent, and this time the practice missed this thing, and the next time the practice missed another thing." Gao Zengfu was very anxious, asked if the working group could not go on stage, and the answer was - take out some of the courage of the master!
Thus "his class self-esteem immediately overcame his inferiority complex in his ability to speak and began to practice whenever he had free time." Sure enough, the level increased rapidly, and before the grievance meeting was convened, he "spoke completely without difficulty" from Yao Shijie, one of the former owners and one of the "three able people" of Toad Beach, "completely speechless."
This is true of Gao Zengfu, and of other young peasants who pursue progress, and an important sign of the author's expression of their "enlightenment" and "maturity" is that they must gradually (often very hard) acquire a new language, a new "mouth talent", as the high-growth "practice of complaining".
3
The first part of "History of Entrepreneurship" is more familiar to readers, and here are a few examples from the second part.
The fourth chapter of the second part writes that when Liang Shengbao's right and left arms, Gao Zengfu and Feng Youwan, officially joined the party, "the branch assembly even encountered difficulties that were difficult to overcome. Two comrades from miserable backgrounds who were full of feelings for the Party did not know how to say it. "Then there's this description—
The Communists in Xiabao Township all stared at Gao Zengfu and Feng Youwan. The two men sat the bench with great effort and overcame the difficulties they faced. Apparently, due to excessive use of the brain, beads of sweat the size of rice grains oozed from the bridge of their noses and between their eyebrows. The warm sun came in through the large window of the door, illuminating the wisps of smoke smoking in the conference room. But there was a rather awkward dullness in the conference room
It's really a torment. Man has "progressed" but has not yet acquired a language that matches it. For Gao Zengfu, giving a speech on joining the party in front of a large group of veteran party members at the branch meeting cannot be the same as refuting the rich peasant Yao Shijie! The "wild son" Feng Youwan was even more troubled, this "old militia captain of Toad Beach, the new production captain of the Lighthouse Society" was usually quick and quick," but the first time he participated in the party meeting, he still focused on himself, and he was so nervous that he didn't know how to do it, "Alas, does the Chinese medicine shop in Renyitang in Huangbao Town have medicine to cure impatience?" I have ten thousand bought shoes barefoot as a production captain, and I also have to catch a few clothes! ”
"History of Entrepreneurship" by Liu Qing
Despite this, the author racked his brains and let the two new party members, under the repeated encouragement of Liang Shengbao and the repeated inspiration of Lu Mingchang, secretary of the party branch of Xiabao Township, finally miraculously overcome the "insurmountable difficulties" and successively delivered their own "wonderful speeches on joining the party".
In the section on Gao Zengfu and Feng Youwan joining the Party, there are three editions published by Liu Qing himself: "Joining the Party - The Second Fragment" (Shanghai Literature, No. 12, 1960), the third chapter of the second part of the History of Entrepreneurship ("Yanhe" January 1961 issue), the fourth chapter of the second volume of the history of entrepreneurship, and the first edition of The China Youth Publishing House in June 1977. The "Yanhe" edition has made major changes to the "Shanghai Literature" edition, and the China Youth Society edition is roughly the same as the "Yanhe" edition. Comparing the similarities and differences between versions, there are three points worth noting.
First of all, the three editions of Gao Zengfu and Feng Youwan's "speech on joining the party" are basically the same, but there are also many minor changes, mainly with the upgrading of the version, the author has set more and more external conditions, especially The encouragement of Liang Shengbao and the inspiration of Secretary Lu (including the negative suppression of Guo Zhenshan, who loves to talk empty words, to inspire Gao and Feng to "think, how to say"), in order to enhance the logic of the narrative, so that Gao and Feng can not speak for a short time from being embarrassed to publishing a wonderful "speech to join the party" seem more reasonable.
Secondly, Secretary Lu Mingchang asked Liang Shengbao to talk about the two new party members as an introducer to the party before they spoke, and here the "Yanhe" edition adds a paragraph to the "Shanghai Literature" edition -
Although he had a draft in his stomach, when he went to the meeting, before speaking, he should revisit it so that he would not miss anything in his speech. It's too late. Leave it alone! Shengbao's handsome figure bravely stood up straight, and without hesitation, walked toward the lectern.
This shows that when Liu Qing was sorting out the version of "Yanhe", he realized that although Liang Shengbao joined the party a year earlier than Gao and Feng, he was also a little nervous, at least not at the level of Secretary Lu he revered, "loving to speak in the way of a cropper", but everywhere he could "say the truth really clearly".
Repeatedly, the above three editions have inserted a large paragraph of the author's exposition of the special significance of the peasants' joining the party in high-profile language with strong theoretical overtones. Because it is discussed by the author, there is not much difference between the three editions. However, after the conclusion of the discussion, the earliest edition of "Shanghai Literature" wrote:
However, Liang Shengbao introduced the situation of Gao Zengfu and Feng Youwan, and his level allowed him to talk only about the specific facts of their enthusiasm for mutual assistance and cooperation.
The "Yanhe" version changes this sentence to -
Liang Shengbao introduced the situation of Gao Zengfu and Feng Youwan, and at that time he clearly felt a little bit of this meaning, and he also wanted to talk about it more thoroughly. But his level allowed him to talk only about the concrete facts of their enthusiasm for mutual aid and cooperation
In the version of the China Youth Society, this text became——
When Liang Shengbao introduced the situation of Gao Zengfu and Feng Youwan at the branch meeting, he clearly felt a little bit of this significance. He was tempted to say something about their enlightenment in this regard. But when he thinks about it, he can only talk about the specific facts of their enthusiasm for mutual assistance and cooperation
Compared with the "Shanghai Literature" edition, the "Yanhe" edition emphasizes that Liang Shengbao, who joined the party a year earlier, was a little nervous to speak at the branch meeting, but after all, his thinking was much more mature, and he could "clearly feel a little" The significance of the peasants' joining the party expounded by the author "also wanted to talk more thoroughly", but it was limited to "level", and finally had to give up and instead introduce the specific facts of Gao and Feng's enthusiastic mutual assistance and cooperation. The China Youth Society edition continues this line of thinking, but there is a cautious and subtle advance in emphasizing the maturity of Liang Shengbao's thought. Liang Shengbao did not generally "want to talk more thoroughly", but specifically realized that he wanted to "talk about their enlightenment in this area", although he also gave up in the end, but before giving up, he still "wanted to come and go", and made a lot of efforts in his heart.
Gao and Feng's "speech on joining the party" is indeed as lu Mingchang, secretary of the branch, demanded, "how you think, how you want to say," mainly in the peasants' own language. Although Gao and Feng could not reach this ideological realm, liang Shengbao, who joined the party a year earlier, had limited "level"; although he could "feel a little bit of this significance", he still could not speak out in his own words, so he had to be represented by the author.
It can be seen that Liu Qing is fully aware of how difficult it is for farmers to learn new languages, so he shows the subtle progress of peasants' thinking and the subtle changes in language "level" in a measured manner. He knew that this was not a one-time mutation, but only a gradual process of accumulation.
4
From this point of view, liu qing's rebuttal of the young critic Yan Jiayan's "Raise a few questions to discuss" at that time is indeed reasonable.
Yan Jiayan satirized Liu Qing for portraying Liang Shengbao as too mature in terms of political consciousness, beyond the actual situation of the character's "personality, identity, ideology, and cultural conditions." Liu Qing grasped the difference between the two concepts of "enlightenment" and "maturity", emphasizing that he only described Liang Shengbao's continuous improvement of political "consciousness" in the course of repeated political studies, frequent contacts with party cadres, and practical work tempering, but did not equate the improvement of Liang Shengbao's "consciousness" with political "maturity". Liu Qing asked rhetorically:
"How can the artistic expression of the spiritual outlook of the heroes of the workers, peasants, and soldiers of our time be described more accurately and more profoundly without reference to their political study and the degree of class consciousness?"
"Isn't it common for many young rural cadres to bring the political terms and terminology learned at the meetings into their daily lives, making people sound out of tune with the peasants' colloquialisms?"
Despite this, Liu Qing stressed that he rarely directly described Liang Shengbao's excessive use of political terms and terms in his thinking and speech, lest readers think that Liang Shengbao could independently "sprout" advanced ideas without political study. In many cases, "the author describes his words at the study meeting of the whole party and his words about the leading comrades of the county and districts." Comrades, please check it out. 2 A big reason why Liu Qing felt aggrieved in his criticism of Yan Jiayan and could not remain silent was that he thought that Yan Jiayan did not see how painstakingly the novel was when describing the gradual improvement of the "level" of advanced young peasants such as Liang Shengbao!
5
The improvement of the language level of progressive young people is still so difficult and slow, and the old peasants who are not willing to fall behind are even more imaginable. Although they can also learn a little new language, it is ultimately limited.
The twelfth chapter of the second part writes that Liang San was surprised to find that "in just a few months of running the club, Ren Laosi learned this mouth talent", which caused the old man himself to "itch at the root of his tongue" and wanted to catch up. Later, it turned out that the old man's language ability had indeed improved, and he could even talk very warmly with the "'county secretary' who wore a fox fur collar".
There are two points to note here. First, the improvement of Ren Laosi's "mouth talent" is seen from the perspective of Liang San's old man, and how high it is can only be measured by the standard of Liang San's old man. If it is measured by the standards of Gao Zengfu, Feng Youwan or Liang Shengbao, I am afraid that it is not a good "mouth talent".
Second, Liang San's old man was able to talk very warmly with the "county secretary", which certainly shows that Liang San's old han's language ability has improved, but at the same time it may also be the result of the "county secretary" learning the peasant language and being able to talk to the peasants, not just because Liang San's old man has improved his language ability. Moreover, although the old man talked very warmly with the "county secretary", he often "two rough hands trembled to help him express the pain in his heart,—— and his language was obviously quite lacking. He called the "county party secretary" the "county secretary", and when he marched with the Toad Beach people, he said "Dulles" as "Du Laosi", which was a manifestation of being quite unfamiliar with the new language.
But whenever they encounter new things and new occasions, the farmers of Toad Beach are still clumsy. For example, peasants from near and far came to watch the high-level community livestock trough, and Liang San Laohan "wanted to say a few words appropriate for this occasion, but he didn't know what to say." It's not that he lacks wit, it's that his old brain isn't so comfortable with this new life that has just begun! ”
Liang San Andihan and Ren Laosi have made some progress in learning new languages, and the shengbao who usually does not go out is even more pitiful. The eleventh chapter of the second volume writes that Guo Zhenshan took Yang Guohua, deputy secretary of the county party committee, to visit "Shengbao's mother" in the grass shed courtyard of Liang Shengbao's family, "A kind old woman with gray hair and wrinkled face, holding a fire stick in her hand, opened a door in the dilapidated grass hut on the east side." She came out and stood on the door steps, and saw that Guo Zhenshan was not alone, and she became nervous." When Guo Zhenshan introduced her to "Secretary Yang", and the "county secretary" without a shelf took the initiative to greet her, she was "overwhelmed"——
The fire stick in her hand, I don't know where to put it. In the end she was still scrambling to throw it on the door sill, as if she didn't need it anymore.
What a spontaneity! But such a divine portrayal is paid for the price that makes Raw Treasure completely unable to open his mouth.
In order to let the croppers say "appropriate words" in the new society, Liu Qing was very worried, and finally had to admit, "More means that the croppers are stupid and can't speak well." ”
Whose language is enough for the toad beach croppers who have entered the new world?
This is their distress, and it is also Liu Qing's distress.
Allowing farmers to overcome the difficulty of not knowing how to speak in the new society and helping farmers to speak their hearts is a major problem facing Liu Qing.
6
But Liu Qing did not one-sidedly pursue to write about the peasants. On the one hand, he writes about the richness of the language of the peasants in the world in which they used to live, and on the other hand, he writes truthfully about their lack of language in the new society and their extremely limited overcoming of this language difficulty.
Liu Qing
Only when shaping the "bomber" Guo Zhenshan and his second general Hum Ha (Yang Jiaxi, the "living Zhou Yu" who "has an idea with his head down and a ruse when he looks up," and "Sun Shuizui," who has always been clever), did the author deliberately make them self-righteous and can say the big day on any occasion. Their ability to speak is a smokescreen to deceive the cadres and the masses, and it does not speak their minds on behalf of the peasants. Lu Zhishu criticized Guo Zhenshan for "Ah! homosexuals! Your mouth is so clever! "It's in one word.
Depicting the different language situations and language abilities of peasants with different identities, different thoughts and feelings is an important part of Liu Qing's realist pursuit.
The scene is difficult to say, and the secret of the heart is even more difficult to express. The second chapter 10 writes that Liang Shengbao "opened the deepest secret of his heart to his closest assistant (Gao Zengfu)," which is obviously exaggerated. At best, that can only be said to be an important content of Liang Shengbao's thinking, that is, he is worried about failing to live up to the hopes of the leadership, and he feels that the burden on his shoulders is too heavy to talk about the "deepest secret of the heart." The real "secret" won't be written so easily.
On more occasions, Liu Qing still faces the distance between the peasant language and the "new life", and strives to make the two grind together and let the popular political language enter the shell of the peasant language as smoothly as possible.
When he tried so hard, he actually adopted the method of "giving them many words" advocated by Lu Xun3. A large number of narratives, lyrics and descriptions outside the dialogue of "History of Entrepreneurship" are basically to speculate on the psychology of farmers, speak in the author's language, or mix the peasant language learned by the author with the author's own language, and try every means to say the thinking, discussion and lyricism in the hearts of the farmers.
"Give them many words" is what Lu Xun said to the "pioneers," that is, the Enlightenment intellectuals. The so-called "many words" mainly refer to the language of enlightenment intellectuals, which can be seen most clearly in Lu Ling's novels that consciously practice Lu Xun's teachings. As for Guo Zhenshan, Liang Shengbao, Xu Gaixia, Gao Zengfu, and Feng Youwan, the "mouth talent" they tried their best to learn is mainly a mixture formed after the harmonization of standardized political language and peasant language, and it is also a set of new languages that the "History of Entrepreneurship" strives to create for rural "newcomers".
7
But the above language pursuit obviously could not make Liu Qing feel completely satisfied. In order to better write about the spiritual world of the peasants, he even did not hesitate to use super-linguistic methods to make up for the lack of language expression.
The fifth chapter of the second volume of the "History of Entrepreneurship" writes that the daughter-in-law Zhao Sufang took advantage of the death of her father-in-law "Wang Erzhi pole" to be buried, tearing her heart and lungs and crying non-stop, which is the divine stroke of the whole work depicting farmers overcoming language difficulties in a super-linguistic way.
In the past, when talking about the characters of "History of Entrepreneurship", most of them focused on Liang Shengbao, Liang Sanlaohan and the "three able people" of Toad Beach, and even Gaixia was rarely talked about, and some people even advised Liu Qing to delete the character of Jiexia4. Although Liu Qing did not do so, she constantly reminded readers and adaptors that Jia Xia was not a central figure5. Changing Xia is still like this, su fang is even more important. Presumably only he Wenxuan (Xi lai), a young critic who was studying for graduate school at the time, had focused on Analyzing Su Fang's psychology and fate6. According to the author's later recollection, at that time, he only wanted to refute Yao Wenyuan's "ultra-left criticism" of Liu Qing on the issue of Su Fang's image shaping, not su Fang Te Jia Qingyan 7.
"Liu Qing Research Anthology" edited by Gong Geng, Xing Xiaoli and Dong Yingfu
However, Su Fang's status in the overall conception of the novel is not to say more than that of Jia Xia, at least it is also the second person in the female group portrait of "History of Entrepreneurship" after Jia Xia. At that time, the limited research of Su Fang in the critics mainly revolved around her relationship with the rich farmer Yao Shijie, and the description of their sexual relationship was disputed. Yao Wenyuan argues that "the author overemphasizes physiological factors and ignores the social factors that play a decisive role in class." The author describes Su Fang as a persecuted and devastated person, and perhaps she will awaken from the bitter lessons in the future, but it is inappropriate to explain su Fang's attraction to this vicious kulak, at least lack of typical significance, to explain su Fang's attraction to this vicious kulak, and to explain that "yao Shijie is a male animal and a spiritually masculine animal, how much satisfaction Yao Shijie gave to the woman Su Fang", and the lack of Yao Shijie's warm embrace of women, is inappropriate, at least lacks typical significance, which does not help Yao Shijie's exposure of the class essence and can be omitted. ”8
Yao Wenyuan's doubts about Su Fang's image are limited to this text, and He Wenxuan analyzes the shaping of Su Fang's image in detail with the whole article, emphasizing that as a woman persecuted and destroyed by the old society, Su Fang's image has both universal significance, and it is different from the particularity of women such as Jia Xia and Li Cui'e, which is related to her family background, the tragic experience of her girlhood, and the special encounters such as being bullied by The Duke "Wang Er Zhi Bar" after marrying a leash------ and so on. Therefore, the seemingly perverted and distorted relationship between her and Yao Shijie is not completely physiological, and there are social factors behind it, "the author is also very strict in dealing with the relationship between Su Fang and Yao Shijie", "No one will not regard Su Fang as a social person because the author emphasizes the biological side", but only in this way, "her liberation will inevitably go through a more tortuous and more painful path".
He Wenxuan believes that this female figure as a whole is "quite deeply written and quite successful", especially considering that Su Fang is "in a more peripheral position in the novel, and she only occupies a less important corner in the grand artistic picture of "History of Entrepreneurship", but it is indeed not easy for the author to give her such historical depth and artistic depth"9. But he also pointed out that "Su Fang in the first part, until the end, is still in a state of soul slumber."
Yao and He have very different opinions, but one thing is in common, that is, they both believe that Su Fang's image has not been completed in the first part of "History of Entrepreneurship", and they both expect that more wonderful ink will fall on this minor character in the second part. At that time, the second part of the "History of Entrepreneurship" had not yet been published in a complete form, sufang was indeed in a secondary position in the first part of the "History of Entrepreneurship", although she also stood on the threshold of the alternation of the old and new worlds, but unlike the above-mentioned Guo Zhenshan, Liang Shengbao, Xu Gaixia, Gao Zengfu, Feng Youwan and so on learned their own "mouth talent". It is reasonable for Yao and He to feel unsatisfied and to anticipate her next step.
Sure enough, in the fifth and sixth chapters of the second volume, Liu Qing asked Su Fang to appear again in lu Xun's so-called "wordless words"—endless crying.
8
Prior to this, the novel often wrote about Su Fang's "crying".
At the age of sixteen, she was seduced and ruined by the hooligans of Huangbao Town, and she cried bitterly, "crying red eyes".
After marrying Mu Ne's tether with obvious pregnancy, the father-in-law "Wang Er Straight Rod" used the "top door stick" to "systematically pound several times", cruelly beat her pregnant, and usually treated her with everything, while the husband's tether was at the mercy of his father, and he did not understand the love of husband and wife, so Su Fang did not know how to cry several times.
The "new society" is gone, and everyone else can get a divorce, but she can't be discredited. She had to continue to suffer from her father-in-law and had to endure a fun-free married life. She didn't know how many times she had cried in secret—she knew that in the eyes of others, she had no right to be dissatisfied or cry, and "there was no reason to cry in front of others."
She admired her neighbor Liang Shengbao, but Liang Shengbao "feared that his prestige in the village would be damaged" and in order to "try his best to improve his prestige among the masses", even her beloved Jie Xia had to avoid it everywhere, not to mention the daughter-in-law of this poorly known neighbor's family, so he "taught her a lesson in the daytime" as a village cadre. Su Fang quickly cut off her thoughts about Liang Shengbao, but she did not fear or avoid Liang Shengbao, "She cried to the village cadre Liang Shengbao that she had not yet been liberated", hoping that he would "interfere" in her life, help her get rid of the strict defense of the father-in-law, and divorce her husband who had no feelings and was only called "our family to be a living person", and obtain real "liberation" in the new society.
But "Shengbao asked her to work hard, keep herself and live on a leash", "Shengbao hardened his heart, violated the ideas he propagated about freedom and democracy, and affirmatively told Su Fang: For the time being, I will not help her fight for this freedom, and wait until the social atmosphere becomes better in the future." This is tantamount to declaring that Su Fang is still an dishonorable pariah and inferior in the "new society". Both emotionally rejected by Liang Shengbao, but also reprimanded by Liang Shengbao in social politics, what kind of changes will occur in Su Fang's spiritual world, the novel does not explain, but the reader can fully imagine. She was secretly weeping for this, and should be sad and desperate.
Later, he sobbed in the mill of the "cousin uncle" Yao Shijie's house. She fell into the abyss of humiliation, stealing joy, and crime, and her crying was even more unreasonable.
Wang Yamei, a youth league cadre from the county, organized a "women's group study meeting", and women, including Li Cui'e, who Sufang despised the most, competed to speak, "repeatedly touching Sufang's scars" and forcing her to "recall the pain again and again". Su Fang tried to open her mouth several times, but she was always oppressed by a deep sense of inferiority and shame, so she could not speak, so she had to hold back the tears that almost snatched out of her eyes, and ran into the hut to secretly cry.
Su Fang's "crying", most of the occasions are secretly sobbing, no one knows, so the author does not need to describe the reactions of the people around him. But these rehearsal sobs are very important, as if a rushing river is blocked by a dam, changing its flow rate, losing its hustle and bustle, but it is not still, but silently accumulating strength, looking for opportunities, waiting for a new exit.
9
So there is the explosive "crying" of Su Fang, the fifth chapter of the second volume of the "History of Entrepreneurship".
Su Fang took advantage of the "Lighthouse Cooperative" headed by Liang Shengbao to send a funeral for the father-in-law "Wang Er Zhi Pole", and wept uncontrollably in front of everyone, not listening to anyone's advice! She was just crying, not crying and complaining, so whether it was a bystander, a person trying to persuade her, or a cadre who talked to her afterwards, she did not understand why she was crying.
Liang Shengbao is the funeral host, Su Fang's close neighbor, the two have that special relationship, it is reasonable to know Su Fang better, but he did not understand why Su Fang was crying, "strange in his heart", "When Grandpa was alive, he simply didn't treat you as a person!" The old stubborn is dead, and you are still crying so sadly? A woman without a heart! ”
The coffin arrived at the cemetery, "according to the funeral procedure", and the women who followed should pause crying, but Su Fen still "cried so much that she could not stand up straight". At this time, Liang Shengbao "despised" Su Fang, "A woman who has not appeared! "After being educated on two roads during the founding of the society, she is still like this!" When will she be transformed into a socialist-conscious laborer? bungler! ”
The other funeral members of the "Lighthouse Society" also "noticed strange sadness in the tethered daughter-in-law." A puzzled look appeared on the faces of the croppers who had untied the ropes around the coffin. Feng Youyi was even moved, and whispered: 'Ah! Tethering the family in this house is still a filial piety daughter-in-law! ’”
After the deceased is buried, "according to the funeral rites", the women should stop crying," but Su Fen just bent over, stretched her neck, and sobbed out of breath. As if determined to dump all her intestines and stomachs on this cemetery, she returned home. Feng Youwan, a new party member, walked up to liang Shengbao, the director he adored, and whispered, "Bones! Liang Shengbao's attitude also developed from "strange" and "contemptuous" to "angry", and he suspected that Su Fen's crying might be the same as Li Cui'e, who was delicious and lazy, "Worried that the female members of the Lighthouse Society will participate in agricultural labor in the future?" How can those who are afraid of labor have good ideas? ”
Liang Shengbao was "cold- hearted" when he thought of this, and he didn't want to think about his marriage. Almost utterly desperate for rural women, he passionately and generously delivered a "grave speech" on "the party's real burden" lies in "transforming backward consciousness" and "listening intently to both the cadres and members stationed in the brigade."
Unexpectedly, "Su Fen, who was no longer crying, listened to the director's words and cried again. ”
10
The fifth chapter of the second volume of the "History of Entrepreneurship" writes about Su Fang's crying, as well as the confusion and even contempt and anger of the people around her, and the sixth chapter tries to explain why Su Fang is crying.
Liu Qing told the reader that su fen, who was suffering from a bitter fate, had been too wronged and had never had the opportunity to vent, "Ah Gong's death gave her a good chance to cry! "What is Su Fang crying about?" It turned out that it was mainly the source of the suffering of her and the widow and the old woman - Zhao Decai, the father of the loser who had been resented by her for many years, "Su Fang was next to the corpse of The Gong, crying poor her father Zhao Decai.". Zhao Decai's depravity in the old society (eating opium) turned her from a well-to-do lady into a poor woman with low self-esteem who could not lift her head everywhere. The author believes that Su Fang's crying father died is essentially to realize that "how many people were killed by the old social system!" And sorrow comes from it.
This analysis certainly deserves respect, but it cannot be said that the author himself fully understands his Su Fang's cry. At the end of the 1970s, Liu Qing, who was living in the hospital, told Mr. Yan Gang, who came to visit him, "Su Fen's crying is crying about the old system"10, which is roughly the same as Su Fang's confession in front of Wang Yamei of the Youth League County Committee, "Comrade Wang is assured!" I cried for the old days! ”
This is clearly not a pen of insight. The cause of Su Fang's misfortune cannot all be attributed to the "old system" and "the past".
"With the Art of Fiction" by Yan Gang
Not to say "before liberation", "after liberation" Sufang still cannot be liberated. The loveless marriage between her and the chain, her "suffering and living" under the control of "Wang Erzhi bar", her love for her neighbor Liang Shengbao and the latter's indifference and reprimand to her, her perverted and twisted relationship with the rich peasant Yao Shijie who was not always "measured and strict", her deepening sense of inferiority and shame at the "Women's Group Study Meeting", the undisguised contempt, disgust, doubt, diaphragm and anger of Liang Shengbao, Feng Youwan and others when she cried at the funeral - all this she thought of in her heart when she cried. How can it simply be reduced to nostalgia for a deceased father who has long been vaguely remembered, or, by extension, hatred of the "old system"?
The words that Su Fang of the "Yanhe" version said to Comrade Wang were: "I will definitely work well in the agricultural cooperative------ repay the favor of the Communist Party!" The first half of this sentence is a repetition of Liang Shengbao's "lesson", and the next paragraph is a facade at that time, which is not the whole explanation of Su Fang's "crying" regardless of whether her thinking has changed or not. But compared to the China Youth Society's version of "Comrade Wang rest assured!" I cried for the old days! "The earlier version of Yanhe may have been slightly better. The China Youth Society version tries to elevate Sufang, while the "Yanhe" version does not elevate Sufang to the point where she can see that all her tragic fate can be attributed to the "old system" of the "past", but instead implies that she does not dare to easily show her sincerity, and only covers the past with Liang Shengbao's "lessons" and popular facade words.
Although using rational language to explain the complex inner world of the characters may not be successful, Liu Qing still wrote it truthfully, using five or six chapters to write Su Fang's "crying".
"Crying" is the "true color" language that Liu Qing found for Su Fang, and he wants to dig into the spiritual well of a rural woman through this super-linguistic emotional venting. The confession of an unfortunate daughter-in-law who has been humiliated and humiliated by no one understands confiding in the universal diaphragm, although it fails in the sense of communicating with her kind, it precisely from this that the true state of the emotions and souls of the peasant (and, by extension, Chinese) is revealed.
Regarding Su Fang's crying, Liu Qing has provided us with at least two editions, namely the fourth chapter of the second part of the "History of Entrepreneurship" serialized in Yanhe in 1961, and the fifth and sixth chapters of the second volume of the second volume of the first edition of the "History of Entrepreneurship" of China Youth Publishing House in June 1977. The difference between the two versions is not only that one chapter of the "Yanhe" version was expanded into two chapters by the "Yanhe" version, but also that the "Yanhe" version emphasized and highlighted Liang Shengbao's contempt and disgust for Su Fang's crying11, and never raised Su Fang to the height of seeing his own tragic fate. However, Su Fang's cry itself, the change of the Version of the China Youth Society is not large, which shows that Liu Qing's grasp of the inner world of the characters has not been disturbed by her rational thinking.
11
Lu Xun said in the Preface to the Russian Translation, that is, the Author's Preface to the Author's Biography-
The creation of the living man has been very ingenious, so that one will not feel the physical pain of others, but our saints and saints have made up for the deficiencies of creation, and have made people no longer feel the spiritual pain of others.
Our ancients have created a terriblely difficult piece of writing; but I am not very resentful, because I don't think they meant it. However, many people can no longer speak through this, and the high walls built by the ancient precepts make them dare not even think about it. All we can hear now is the opinions and truths of a few saints, for their own sake; as for the people, they grow silently, wither and wither, and die, like grass pressed under a great rock, for four thousand years!
It is really difficult to draw the soul of such a silent citizen in China----- although I try my best to explore people's souls, I always regret that I have some gaps.12
Overcoming this difficulty and breaking the high wall of "separation" between souls is really rare in Chinese literature.
Su Fang's "crying" is easy to remind us of the women who are good at crying in the history of Chinese literature.
In "Water Margin", Jin Cuilian "choked and cried", and "Lanling Xiaoxiaosheng" wrote that Li Zhen'er's wordless mourning after the loss of her son were common cries of unsuspecting Chinese women, and had similarities with Su Fangzhi's "crying". But the author of "Water Margin" and "Jin Ping Mei" is so stingy!
Guan Hanqing's Dou E's cry to the heavens and the earth is a projection of the author's agitated emotions, not the character's original confession. Moreover, Dou'e turned sorrow into anger, "renounced" "crying", turned "crying" into "litigation", and focused on "litigation" rather than "crying".
"White Deer Plain" writes that Tian Xiao'e, like Xianglin Sister-in-law, gradually stopped crying after crying and wailing many times - the cruel life deprived them of the ability to "cry".
Water Margin
"Golden Plum Bottle"
White Deer Plains
In Lu Xun's "The Flutter of the Decadent Line of Wild Grass", the old woman "raised her hands to the sky as much as possible, and the human and animal between the lips leaked out, not owned by the human world, so the words without words", the thought was profound, the sense of picture was very strong, it seemed to be closer to Su Fang's "crying", but after all, there was no breadth of narrative.
Knowing each other, Su Fang's "crying" is extraordinary. The author is obviously aware of this, so he simply let go of his pen and talked about it:
How many tears can there be in a person's body? If the tears flow too much, is there any harm to people? Why do you cry for a long time and feel a headache in your head? Why did I feel hot in my eyes later? There have been people who cried and were blind. Su Fang doesn't care about these now. She just wanted to cry! cry! Cry! Finally! Grandpa's death gave her such a good opportunity to cry! She could cry about it openly and as much as she wanted. Cry enough!
In the face of Su Fangzhi's "crying", the villagers' doubts, speculations, women's persuasion, the cadres' ideological work, Liang Shengbao, who thought that he was "progressive", Feng Youwan's "contempt" and "anger", and the author's explanations inside and outside the book, were all eclipsed.
Factor Fang's "crying", we have to make another understanding of the positive and negative characters in "History of Entrepreneurship" who do not understand Su Fang at all.
Factor Fang's cry, the character world of "History of Entrepreneurship" has split again. On the one hand, the speculation and discussion of all the characters in "History of Entrepreneurship", and the other is the silence of Su Fang, who cried to death and lived. The two sides of the diaphragm and confrontation allow us to re-appreciate Liu Qing's amazing achievements in revealing the "soul of the silent people".
Su Fang's "crying" almost collapsed the entire world caused by the author's hand! This kind of shocking artistic power may only be slightly closer to the legendary Meng Jiangnu crying down the Great Wall or Jia Zhen's unruly sorrow for the death of his daughter-in-law Qin Keqing in "Dream of the Red Chamber".
However, the cry of Meng Jiang's daughter is only a legend, lacking a specific description of literature (Su Tong's "Bi Nu" created according to this legend to write "crying" in exaggerated game pen and ink has basically failed), while Jia Zhen and Su Fang, one is the father-in-law who shamelessly cries that secretly has an affair with him, and the other is the daughter-in-law who pretends to cry gonggong but actually feels sorry for his own life, the two are similar on the surface, and the connotations are very different.
12
Su Fang's "crying" has a process of gathering momentum, such as the author's narration of Su Fang's parents, the Huangbao Town hooligan who seduced Su Fang, Wang Erzhi pole, chain, Liang Shengbao, Yao Shijie and other related figures, including secretly examining "his tethered aunt", "smelling the smell of alabaster on Su Fang's face, almost vomiting", "the seventeen-year-old boy Who has never approached a woman" Ren Huanxi's "childish heart".
Without these foreshadowing, Su Fang's wordless "crying" would be like an empty mirror that could not illuminate anything.
In addition, Su Fang's "crying" also needs the "crying" of others to show its uniqueness.
For example, Gai xia's mother cried about the misery of their orphans and widows, although sad, but she held hope, that is, she hoped that her young and beautiful daughter would have a bright future with the help of "deputy director" Guo Zhenshan.
The novel also writes many times that Chang Xia cried that she and Liang Shengbao repeatedly missed, such as the fifteenth chapter of the first part, Chang Xia Jiu waited for Liang Shengbao not to arrive, she was discouraged, and she had to make a final decision not to wait for her sweetheart anymore -
She thought like this, and suddenly the root of her nose was sour, and tears poured into beautiful circles. This is neither weakness nor backwardness. This is the time to sacrifice feelings for the sake of lofty ideals, spilling a few drops of emotional juice from people. With her clever fingers, Gai xia wiped away the two tears that spilled out of the corners of her eyes and walked back.
The young girl in love, Gai Xia's crying, beautiful and sad.
Poor man Gao Zengfu, "No matter when you see him, he always looks like he has just cried alone", Gao Zengfu did cry secretly in the market, but he deeply blamed himself, the author wrote that he suppressed tears like this:
The root of his nose was sour, and his eyes were covered with tears. But he covered his lips and didn't let the tears fall. He blinked his eyelids a few times, and the tears flowed through the nasolacrimal tube to the nasal cavity, to the larynx, and then with a smell of salty salt, flowed from the esophagus into the belly bag containing several bowls of thin corn paste.
Coincidentally, after Guo Zhenshan, the "representative director" who regarded "being in the party" as the supreme glory, but his selfishness was too heavy, and he dreamed of making a fortune alone, received criticism from the "organization", his big eyes that were shining with energy were actually "covered with tears" --
However, the stubborn Guo Zhenshan would not let the tears flow. He struggled not to blink, letting the tears circle in his eyes, and then flowing down the nasal tear duct inside his body. But a drop flowed the wrong way, did not go into the throat, but came out of the big hairy nostrils. Guo Zhenshan used it as a clear nose, wiped it off with one finger, and rubbed it on the edge of the sole.
Guo Zhenshan's cry and Gao Zengfu's cry have many similarities, but the content is slightly different!
In order to illustrate the truth that "private property is the source of all evil", the author also writes about a strange crying scene in rural society. The eldest without heirs is dead, and the second and third elders are fighting for the son to be the "filial piety" of the deceased brother, and the family is also staged another funny play:
Their mothers-in-law and dolls, crying at home for the dead, crying with all their throats, were simply howling, indicating that they had feelings for the dead. In fact, they all have feelings for the ten acres of land under the name of the deceased...
The most detailed and splendidly written is the seventeenth chapter of the first part, Liang San's old man wept for the death of Liang Shengbao's adoptive daughter-in-law, who regarded Liang Shengbao as nothing, "the tears just flowed and flowed, flowed and flowed, and kept gushing in line." In the eyes of others, this is a "father-in-law crying daughter-in-law" who "disregards the system" and is an act of "humiliating", but Liang San's old man wept for his adopted daughter-in-law, one because "my child adopted daughter-in-law is as close as my daughter-in-law", and the other is because Liang Shengbao "only has the grave of the daughter-in-law", so the old man "despises" this adopted son brought by his wife, thinking that he is too ruthless, "No matter what, it is finally a husband and wife!" One day husband and wife, 100 days of grace! Burning paper and incense for the dead is certainly an emotional need; but sometimes, in order to show the world, it is necessary to make a show! You Communists are not superstitious, but the croppers on both sides of the Tang River are superstitious! hum! Moreover, on the tomb of the Qingming Festival, the old man also remembered the "miserable days of the past" when the child's adopted daughter-in-law grew up, and only then did he "cry out in spite of the body."
Liang SanLaohan and Jia Zhen are both "father-in-law weeping daughters-in-law" who violate normal ethics and are quite criticized, but each has its own way of crying, and it is not the same. This detail fully shows Liu Qing's ingenuity in writing "crying". The first part of the "History of Entrepreneurship" writes about Liang San's old man crying for his daughter-in-law, and the second part writes about Su Fang's "daughter-in-law crying father-in-law" who is also criticized for violating normal ethical concepts.
But writing Su Fang's "crying" is better than writing Liang San's "crying". The "crying" of Liang San's old man objectively exposes Liang Shengbao's negligence and coolness in terms of family affection and the love between men and women, but the author's original intention is to show Liang Shengbao's public and selflessness, Liang San's "crying" is completely under the author's control, and Su Fang is crying in the face of the whole world, and its shocking momentum may violate the author's original intention, resulting in an embarrassing and out-of-control situation.
How many characters Liu Qing has written about "crying"!
It is in the continuous crying of the Toad Beach people that we hear Zhao Sufang's most miserable crying, and also see more reactions from the reactions of people around us, so it is possible to distinguish Su Fang's "crying" from other people's "crying" and deeper understand Liu Qing's painstaking loneliness in describing Su Fang's "crying".
13
After Su Fen cried, she was "lost to ordinary people".
The author originally wanted to give her more descriptions, and in the conversation with his daughter Liu Kefeng, he even introduced in detail the later arrangements for Su Fang in the overall conception:
Later, I want to write a plot: once, The old man of Liang borrowed the livestock and did not return it, everyone was very angry, let the women's director rejoice that his mother wanted it, rejoiced that his mother used to borrow other people's livestock and tools, sorry, Su Fang saw it, and volunteered: "I will go to want it!" "This pushes Su Fang's image forward a big step, and finally, I want Su Fang to be the female captain." 13
However, the second part of the 1977 CYSA edition of "History of Entrepreneurship" did not have this arrangement. After Su Fang cried, she only appeared three times, and there was no positive or prominent depiction.
The first time was the twelfth chapter of the second volume, and after six chapters of crying, the lighthouse cooperative led by Liang Shengbao ushered in the first major event, that is, the members led their livestock to "merge the trough" and carry out unified management. Liang San, who is concerned about social affairs, finds that "Su Fang, the daughter-in-law of the tethered daughter-in-law", also follows the female captain Huan Xi's mother and helps to drink his family's cattle. At this time, Su Fang also put a white filial hat on the dead grandfather and walked at the end, but "after the education of the two roads, especially after the funeral of the straight bar old man, liang san old man had a new understanding and no longer despised Su Fang." Everyone talked about the old man Liang who pretended to be ill and did not go out, and Su Fang also stepped in and said a few words about the old man of Liang. The central characters in this section are Liang San Old Man, Huan Xi's mother, and Liang Da Lao Han who is not present, and Su Fang is only a foil and does not make any positive descriptions.
After another thirteen chapters, that is, the twenty-fifth chapter of the second volume, the old man liang, who did not want to join the cooperative, saw Su Fang and several women of the cooperative working in the field, which was also a stroke.
The third time is immediately followed by the twenty-sixth chapter of the second volume of the second volume, Guo Zhenshan Hum Ha Er General Yang Jiaxi and Bai Zhankui provoked Liang Dalao to make trouble, the Lighthouse Cooperative "encountered the first storm since its establishment", Liang Shengbao went out to preside over the work during the meeting, Gao Zengfu, deputy director of the work, saw many members come to the "courtyard of the society office" and were concerned about how to deal with this important matter, and the "tethered daughter-in-law Zhao Sufang" was also sandwiched among the people, and so on.
"The Biography of Liu Qing" by Liu Kefeng
The second part of the 1977 CYSH edition was only modified on the basis of the first to twenty-five chapters completed before the Cultural Revolution (the first to seventh chapters of "Yanhe" published in the January to October 1961 issue were equivalent to the first nine chapters of the first volume of the China Youth Society edition), expanding the original twenty-five chapters into twenty-eight chapters, but the specific changes were limited to the first volume of the second volume 1 to 13 and the next volume 14 to 17, and the remaining eighteen to twenty-eight chapters were still the first draft. Therefore, it is not difficult to understand that Liu Qing told her eldest daughter Liu Kefeng that he would write more about Su Fang's plan and did not implement it in the final public version.
In the first and second chapters of the first and second chapters of "History of Entrepreneurship", Su Fang's play is very full, so what will happen to Su Fang after crying, the author did not leave more "afterwords", but the reader can't help but wonder: In addition to Liang San's old man no longer "despised", did Su Fang get more understanding from the people around her? Did Su Fang's consciousness improve and become the "new person" that Liang Shengbao expected, or did she only occasionally appear to say two less important words, and participate in labor among female members, and her mind was still "confused", or did she have other changes in her mind that others could not perceive, and from then on, she saw people and things in her heart?
14
According to Liu Kefeng's conversation with his father Liu Qing from 1970 to 1978, before Liu Qing decided to give up the writing of the third and fourth parts of the History of Entrepreneurship, he felt that "the first part of the change was written too much, and now it cannot be removed, leaving traces of axe chisels"14. This is basically the same as the "Author's Notes" written by Liu Qing after the first to seventh chapters of the second part of the "History of Entrepreneurship" in "Yanhe" from January to October 1961, in which Liu Qing solemnly advises all kinds of adaptors of the "History of Entrepreneurship": "Do not arrange Xu Gaixia as a heroine. This is not in keeping with the general intent of the History of Entrepreneurship." He pre-published these chapters, one of the purposes of which was to remind the reader that Jie Xia was not a "heroine".
A multi-volume novel with many female figures, how can there be no "heroine"? Canceling the status of "heroine" of Xia, do you need to find another female image to make up for it?
Judging from the unfinished manuscript of the second part of the History of Entrepreneurship, published in 1977 after repeated revisions and the cancellation or compression of the third and fourth parts of the plan, Liu Qing probably wanted to add one of Su Fang or Liang Shengbao's new "object", Liu Shuliang, as "heroine". Liu Shuliang has not yet appeared in the first part, and the actual description of the second part is not much, and the overall image is pale and thin. In contrast, Zhao Sufang, who spent a lot of ink in the first part, was described in the fifth and sixth chapters of the second part, and the fullness of his image far exceeded that of Liu Shuliang in the second part alone, and with the large number of descriptions in the first part, the overall weight also overwhelmed Jia Xia. Even if Liu Qing wants Liu Shuliang to replace Gai xia as the "heroine" of "History of Entrepreneurship" (he even borrows the phrase "there is a mother-in-law" to say that "Shu Liang's nickname is also called changing the line, the same as changing xia"), it is completely impossible.
Leaving aside Liu Qing's conception, judging from the actual descriptions of the first and second parts of the "History of Entrepreneurship", Su Fang can fully deserve the title of "heroine".
15
But the question is not who Liu Qing subjectively wants to replace Jie Xia as the "heroine" of "History of Entrepreneurship", the question is that since he has actually pushed Su Fang to such an important position, how will he continue to shape this Su Fang, who is by no means a "secondary character" after crying? Is Su Fang's earth-shattering cry conducive to Liu Qing's next continued to shape the image of such a rural woman who finally got rid of the traumatic memories of the old system and the old society and smoothly integrated into the new society, or is it counterproductive, because the previous writing of Su Fang's cry was too strong, giving the reader too deep an impression, so that she was restrained, and then it was impossible to carry out a new shaping of Su Fang according to the established concept?
The second possibility is clearly greater. No matter how Liu Qing will continue to describe the new atmosphere of Su Fang's spirit and the new performance of her actions, it will not be able to erase the uncertainty of too much meaning contained in Su Fang's "crying". Many of the hidden pains in Su Fang's psychology and behavior involved in Su Fang's crying cannot be erased. Liang San's old man only "didn't despise Su Fang" without knowing it, but if nothing else, the relationship between Su Fang and Yao Shijie alone was like a big white in the world, could the old man still forgive Su Fang?
In the twenty-first section of the first part of the above-mentioned "History of Entrepreneurship", Su Fang "cried" to Liang Shengbao, who "told Su Fang affirmatively: I will not help her fight for this freedom for the time being, and wait until the social atmosphere becomes better in the future." How can the social atmosphere become "better" and can Liang Shengbao meet Su Fang's request? Besides, this was still before Su Fang was defiled by Yao Shijie. If Liang Shengbao knew about Su Fang's later relationship with Yao Shijie, he probably wouldn't even give Su Fang this distant promise, right?
Is there a problem with Liang Shengbao's sexual orientation, is he a "misogynist"? This issue is beyond the scope of this article. According to the actual description of the novel, Liang Shengbao's coldness to Su Fang is related to his consistent political principles. The author writes that in order not to live up to the party's entrustment and not to damage the prestige that the party hopes he has established among the masses in order to carry out his work, he is always cautious in his words and deeds, and does not dare to be alone with women easily, preferring to often "shoot the night" with wang, Gao Zengfu, Feng Youwan and other men, "pat his mouth", and "co-build a quilt, and spend the night very happily." Between him and Gao Zengfu, he even "developed a deep friendship like husband and wife." ”
But in addition, Liang Shengbao's cold treatment of Su Fang has other hidden feelings. "Toad Beach once spread rumors about Shengbao and this woman" ("Yanhe" version of "Stinky Wind"), Liang Shengbao, who has always been cautious in his words and deeds, for fear of affecting the party's prestige because of his failure to check, cannot fail to regard Su Fang as a dangerous person and take strict precautions. What's more, this "gossip" or "stinky wind" flew out of the toad beach long ago and flew into the ears of Tao Kuan, the secretary of the county party committee who admired Guo Zhenshan and advocated continuing to investigate Liang Shengbao:
In the early days of Liang Shengbao's liberation, there were some problems with the relationship between men and women, saying that it was mainly with a girl from his village and a neighbor's daughter-in-law, and there was some discussion among the masses. Well, there's a problem, and it's not big. Young people, before liberation, they had evaded military service in the Qinling Mountains, and the customs in the mountains were chaotic, which may have been affected by some.
Yang Guohua, deputy secretary of the county party committee who has always supported Liang Shengbao, was also very surprised to hear Tao Kuan's words, "I really can't imagine that Liang Shengbao had such a bad experience. ”
The novel does not explain whether Liang Shengbao knows about this dialogue between the county leaders, otherwise his ideological burden will be heavier, his defense against Su Fang will be more severe, and his disgust will be more intense.
No matter how much society progresses, no matter how Su Fang's own thinking is transformed, it is difficult for Su Fang, who has made a big mistake, to be truly "liberated.". If Liang Shengbao, the tenth chapter of the second part of the History of Entrepreneurship, "opened the deepest secret of his heart to his closest assistant (Gao Zengfu)" is an exaggeration, then SuFang does have the "deepest secret of her heart" that she cannot open to anyone. This is the first-class secret of Toad Beach, and its degree of secrecy even exceeds yao Shijie's third Kuomintang party card hidden in the "eyes of the wall", because Yao Shijie made this crazy move, at least he could consult with the "mother-in-law", but Su Fang's "deepest secret in his heart" did not dare to tell anyone. She must have wanted to walk into the grave with this secret, right?
Liu Qing chose Su Fang as a model, perhaps with the intention of describing how such a woman who dragged too much trauma from the "old system" and "old society" became a "laborer with socialist consciousness", and even planned to let her serve as a "women's captain", but this really set a problem for herself! His writing of Su Fang's "crying" is not only not an effective step to solve this problem, but also adds a new problem to the old problem, making his later portrayal of this character unsustainable.
No one can understand Su Fang. No one can help Su Fang. Su Fang's crying contains pain, grievances, grief, resentment, which are the catharsis of all these complex emotions, but there is also a deep fear and despair that cannot be discharged. Taking advantage of her father-in-law's funeral, she cried vigorously, did not say anything, and did not listen to anyone's advice, because any language of herself or others would not help her.
At least for that moment, Su Fang lived outside of language. What other language can the author give her other than to make her cry? After she cried to the extreme, how else can we describe her rebirth and renewal?
16
Liu Qing's main task is to let the peasants learn to speak a new language that they would not speak in the past, but when he goes all out to complete this main task, he pushes Zhao Sufang, one of the "heroines", into the complete opposite situation.
Su Fang married into Wang Erzhi's family at the age of sixteen, and seven years later, although there were all kinds of unpleasant things in life, she was still a handsome and intelligent "village young woman" with "smart eyes and favorable speech", and she was definitely not a clumsy person. Although the novel does not specifically describe how Su Fang usually stirs up Liang Shengbao, and how she seriously asks Liang Shengbao to "liberate" herself after being rejected by Liang Shengbao, even through the author's simple paraphrasing, we can feel Su Fang's sharp teeth.
She used to have a good family, lived in Huangbao Town since she was a child, and was well-informed, which made her dislike the leash. Just by looking at the strategy she showed when discussing with the extremely interested father-in-law "Straight Bar Wang ER" about whether to go to Yao Shijie's house to help the maid, it is not too much to say that Su Fang not only has sharp teeth, but also has a bit of a scheming.
Such a clever woman, who should not have been left behind in learning a new language, ended up losing her inherent "mouth talent" and becoming only able to cry and not (or unwilling to speak).
At the same time, many young people, women and the elderly who have progressed or are not progressing in Toad Beach are faster or slower to improve their ability to use new languages, from clumsy tongues to being able to speak, and gaining new "mouth talents".
In the fifth and sixth chapters of the second part of the "History of Entrepreneurship", Su Fang, except for the last words to "Comrade Wang", did not say a word, but could only hide all the complex contents of its existence in non-verbal, super-linguistic, and anti-linguistic cries.
The author may intend to follow Up Xia and focus on Su Fang as another heroine. However, the author encountered a greater language problem when portraying Su Fang, so he could only surprise and win, trying to use the wordless cry to hint at the ineffable and complex contents of Su Fang's spiritual world. But perhaps the author did not expect that Su Fang's "verbal judgment" thus almost canceled out the effectiveness of the author's new "mouth talent" given to other characters of Toad Beach. They have new "mouth talents", but no one can understand Su Fang's wailing, and no one can communicate with Su Fang in any sense of language.
The first draft was completed at Yulin University on May 16, 2016
Revised on June 24, 2018
Postscript: On May 17, 2016, the College of Literature of Yulin University, the Yulin Literary Association, and the Propaganda Department of the Wubao County CPC Committee jointly held the "National Academic Symposium to Commemorate the 74th Anniversary of Mao Zedong's Speech at the Yan'an Literary and Art Forum and the 100th Anniversary of Liu Qing's Birth". Shaanxi People's Publishing House, March 2017, 1st Edition), the first part of which was rewritten and published in the second half of the 10th issue of Creation and Criticism in the second half of the 2016 issue under the title of "A Vague Impression of Contemporary Literary Criticism: From Criticism and Research". This article is an extension of the third part of the keynote speech (the original text is about 2,000 words), and the inspiration for writing comes from a small talk with Mr. Ying Bicheng, a teacher and red scholar many years ago, who said that the "History of Entrepreneurship" writes about Su Fang's crying is worth studying. Now that it has finally been written perfunctorily, I would like to thank him for his point.
Notes
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[1] This article quotes the original text of the novel "History of Entrepreneurship", if not otherwise noted, the first part is the first edition of China Youth Publishing House in June 1960, and the first volume of the second part is the first edition of China Youth Publishing House in June 1977.
[2] Liu Qing, "Raising a Few Questions to Discuss," Yanhe, August 1963.
[3] The Complete Works of Lu Xun (6), p. 79, People's Literature Publishing House, November 2005, 1st edition.
[4] Li Xifan's "Thought and Art in a Long Talk" argues that "Jia Xia was not well written" and "despite the author's use of a large number of beautiful words."
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