In the original novel of "The World of Man", Bingyi and Dongmei represent the life individuals of the working class and the high-level cadre class respectively, because of the connection of love, they temporarily broke the barriers of the class they were in.
But their love influence is always limited, at least it can be seen that they lack the ability to brew a kind of love, and their love is a kind of song.
This is the novel and TV series that they have no children, according to the TV series, Dongmei once fell into the well when she was in line, stimulated by cold water, and thus lost her reproductive function.
And the novel does not mention this, personally feel that this is purely the self-made cleverness of the TV series writers. This kind of class-breaking marriage, Liang Xiaosheng uses no offspring to show that it is not realistically feasible, this is only a symbolic allegory, and there is no need for a real pathological reason to explain, so the novel never mentions why Dongmei cannot have children.
In fact, in many cases, this class-breaking love effort ends in a breakup.
In a sense, the love between Bingyi and Dongmei in "In the World" can be said to be a copy of the love between Paul and Tonya in "How Steel is Made".
The name of Dongmei can even be seen as similar to the name of "Tonya".
And Dongmei's personality has a similar cultural background to Tonya.
Take a look at how to analyze Dongmei's identity setting in "The World of Man": "She was born in a high-ranking cadre family, inherited the genes of the poor, had more religious ideas in her mind than revolutionary ideas, had a sad and compassionate heart, and at the same time had a lot of aristocratic lady-like habits." ”
The background introduction of this section of Dongmei is pasted on Tonya's body, which is completely in line with it. Or it can be said that the background of Dongmei is edited from Tonya.
In "How Steel is Made", we see that Paul and Tonya belong to two classes, originally the two classes they are in are old and dead, but the emergence of love, so that Paul and Tonya between the two classes they are in, established a similar "wormhole" space-time dark passage, to achieve the two classes in this "point" on this "docking" and "encounter".
However, the "wormhole" is fleeting, so it is impossible for Paul and Tonya to eventually return to their respective classes.
Intriguingly, it is written that tonya and Paul's last encounter was the accidental intersection of two different spaces to which they belonged.
This intersection, the direction of the rail where Paul stood and Tonya's travel line along the rail, was stopped by a blizzard, thus creating a "chance encounter" in time and space.
Tonya's timeline, and Paul's timeline, no longer intersect, is the inevitable fate of the two classes.
But the rules of the rails gave them a chance to meet.
Paul's living space is on the cold tracks under the train, while Tonya is in the warm spring carriage.
Above the train, and below the railroad tracks, is the world in which two different classes live. And they, here, declare that they will never be able to feel each other's breath like they did in the past, at the water's edge, in the park, in the street, rushing with the blood of youth, and exchanging views on the world.
This is not the profundity of the author of How Steel is Made.
Ostrovsky, the author of "How Steel is Made", sees that love may connect men and women of different positions between two classes, just as in "The World of Man", Liang Xiaosheng borrowed Zhou Rong's mouth to analyze the plastic nature and short-lived nature of love between Bingyi and Dongmei.
In the face of reality, Liang Xiaosheng faithfully restored the iron law principle of life pursued by severe realism, and in "The World of Man", he eliminated any romantic joining and returned to the coldness and harshness of reality.
In the novel, Liang Xiaosheng did not jump out directly to explain the reason why love under this class framework could not be established, which is Liang Xiaosheng's thickness, but in the novel, he put his calm thinking in Zhou Rong's novel "Our Generation of Children":
"The relationship of marriage is naturally at work. The so-called fate is premised on the social hierarchy of the family. The super-level fate is not universal, it is probably directed by a specific era or a talented woman's appearance - how my brother and sister-in-law's marriage is..."
"The super-hierarchical fate is not universal", this conclusion is really a little cruel, but it cannot but be said to be unreasonable.
How many literary works have deduced such truths.
This can't help but think of the love setting in Liang Xiaosheng's "How Steel is Made" that Liang Xiaosheng participated in the screenplay.
In the past, there have always been self-made clever commentators who believe that Tonya was ugly in "How Steel is Made" and deliberately wrote Tonya to stay away from Paul.
In fact, the right to interpret Tonya's fate can only belong to Ostrovsky, which is the author's fictional character image. The author gives this character his love and hatred, at the same time, according to the essential trajectory of life, designing the final fate of the character, the author completely presents the warm color of a character image, and at the same time restores its final cold color door according to the original face of life.
Later, some commentators accused Ostrovsky of forcibly arranging the fate of the characters when he conceived the image of Tonya, but in fact, there was no real figure like Tonya, but the author synthesized such an image according to the women he came into contact with in his life, Ostrovsky adhered to his realist principles, and wrote how difficult it was to break down class barriers in that era, Paul's love with Tonya, to the final parting of the railroad line, was a convincing result.
This kind of love tragedy that tries to break down class barriers, in fact, we see a similar interpretation in the Hollywood movie "Titanic".
Jack is an anonymous tramp who does not even have a ferry ticket, ready to go to the United States to fight in the world, and his dream is pinned on the exotic New World.
It was such a member of the proletariat who, after boarding the Titanic, miraculously won the love of a rich lady at once.
The love between Jack and Ruth is so similar to the love between Paul and Donia in How Steel is Made.
Why do we have to show this kind of love that breaks through the hierarchical difference in literary and artistic works?
Although there is a need for dramatic settings, it is more likely that this literary concept that breaks through hierarchical differences comes from human desire for equality.
The practice and yearning for equality in love has become the first place where the first dawn of human equality shines first.
Therefore, Paul in "How Steel is Made", first of all, from Tonya's love, understands the possibility of breaking down the hierarchical barrier and feeling the dreamlike flame of love luster, although Paul's love is lost, but this initial love, after all, is beautiful, innocent, indicating the equality of true human nature, in order to conjure up such a dazzling love light.
And the same is true in Titanic. Jack, who has nothing, can get the emotional echo of Ruth who is bored and desperate to jump into the water to commit suicide, this kind of love that breaks the hierarchy, touching and triggering, what does it rely on?
According to "The World", this kind of love impulse that transcends hierarchical confinement, "mostly directed by a certain era or a talented woman", belongs to in "Titanic"?
"Specific age"? A closed Titanic cruise ship can look at the spatial characteristics of a particular era, where as long as there is a ticket, you can get the illusion of the equality of all beings. Jack's ticket was earned by gambling, and this contingency, after getting on board, was erased, and he received all the equal courtesies on board, and at this point, he was guaranteed to stand on the same platform as Ruth. So he could stand at the bow of the ship and dive into the depths of the cabin as if he were in no man's land, as if the luxury yacht were the back garden of his home.
However, this was nothing more than Jack's temporary requisition of public places, props and background walls for a proletarian like him to build romantics.
"Lang Cai Female Appearance", which is indeed the reason why Jack and Ruth are attracted to each other. Behind this, there is also the fit of the vitality in the inside after the recognition of the appearance. Jack's uninhibited proletarian passion and vigor undoubtedly attracted Ruth. The proletarian, who does not need any additional wealth to add luster to him, wears decorations, only needs to show off his primitive instinctive self, and then emits the essence of the value of life, and it is precisely because of this that Ruth hates the boyfriend who has lost himself kidnapped by wealth, and has a special love for the true disposition of the proletarian because of the lack of illusion, thus opening a utopian fantasy drama that breaks the hierarchy barrier on a crisis-ridden giant cruise ship.
This is also the motivation for Tonya's love for Paul. In How Steel is Made, Tonya talks about the source of her affection for Paul: "I have never met such a person among the young people I know, and none of them have such a strong will and such a firm and unique view of life. ”
However, just as Paul and Tonya in "How Steel is Made" in the two spaces of the train and the track on the tracks can only be separated by a short touch point, the love impulse in "Titanic" that challenges the level is also destined to sink into the sea of ice and the sky is forever separated in the face of an unexpected disaster.
It can be seen that this kind of love that breaks the hierarchy has a daunting and tragic ending.
Under this overall framework, we can understand the fragility of the love between Bingyi and Dongmei in "The World of Man", after Bingyi left the world, Dongmei immediately remarried, and since then, Dongmei has also been hidden in the life circle of the Zhou family.
This love that was once there can only become a legend. Without the inheritance of children, this love is destined to become a canopy that cannot take root and sprout, going with the wind and leaving no trace.
It is an elegy of true reality, a profound portrayal of the destiny of mankind. The cold meaning in "The World of Man" is that the novel looks directly at the reality of the times and eliminates any romantic dreams that violate reality.
From this, we can also see that in "The World of Man", Liang Xiaosheng, in the relationship between Bingyi and Dongmei, followed some classic literary settings of the Soviet literature he loved, which also proved that literary works such as "How Steel is Made", although the era and space he described became empty and confused with the collapse of the Soviet Union, the revelation of real life and human nature left in the novel will always emit the charm of enduring enlightenment and revelation.