In the original novel of "The World of Man", the only thing that involves the description of desire is when Bingkun faces Zheng Juan.
The characters depicted in "The World" are mainly concentrated in the generation of the same age as the author.
For the next generation, Liang Xiaosheng actually lacks interest.
This is also a normal phenomenon. All literature is some kind of autobiographical metamorphosis.
Including Tolstoy's historical novel "War and Peace", it seems to be a real historical record, but the fictional characters André and Pierre in the novel contain some personality and characteristics of Tolstoy himself.
Tolstoy actually traveled back in time and space, acting out his own imagination of "war and peace".
In "The World of Man", Liang Xiaosheng gave the most solemn attention to the people he belonged to in the early fifties.
The novel also focuses on that generation with heavy ink and ink.
The main love depictions in the novel focus on the three brothers and sisters of the Zhou family.
For the love of Righteousness, the novel does not involve "desire".
In the TV series, Performance Bingyi and Hao Dongmei went into the grove, and when they came out, Dongmei's clothes were misaligned, and her hair was stained with grass leaves, you can imagine what they did in the grove.
In fact, in the original novel of "The World of Man", when Bingyi and Dongmei were together, there was no "and chaos", and even for a time, Bingyi felt that Dongmei was too cold, there was no passion at all, they were in no man's land, that is, embracing each other, ear sideburns existed, but there was absolutely no physical contact.
Why did Liang Xiaosheng write Bingyi and Dongmei so purely?
The main reason for this is that the love between Bingyi and Dongmei is a kind of fictional love, and this huge class gap of love is common in Liang Xiaosheng's novels. For example, Zhang Meng in "The Ring of the Year" is the daughter of the secretary of the district party committee, who is extremely arrogant, and the male Zhiqing can only look up, which is out of reach. Feng Xiaolan in "Zhiqing" is the daughter of the general, and the male Zhiqing Zhao Shuguang in the play falls in love with her, but Zhao's father does not agree, because Zhao's father is a subordinate of Feng Xiaolan's father, and he is unwilling to climb high and is not willing to break through the gap in the class, just like in "The World of Man", the huge gap between the working class family of Bingyi and Hao Dongmei's high-cadre family.
Liang Xiaosheng imagined again and again in his Zhiqing novels that there could not be a phenomenon of class breaking the wall in this reality, and fabricated a romantic and wonderful love legend, but this kind of love relationship, like the Xianle Lunyin, can only be heard in the sky, where there is in the world. This kind of love is too otherworldly, and even has lost the passionate expression of human love, it is based on this consideration that Liang Xiaosheng writes the love between Bingyi and Dongmei in the novel without passion.
The love between Zhou Rong and Feng Huacheng, Liang Xiaosheng also does not involve the description of desire. After all, Zhou Rong's prototype originated from Liang Xiaosheng's feelings for the women of the family, and it was difficult for him to transform his sisters into symbols of desire.
Only Zheng Juan was hunted by liang xiaosheng and Bingkun's double "lustful heart" gaze.
When Bingkun first met Zheng Juan, her first feeling was sexy.
Bingkun even immediately had the idea of throwing herself on and insulting Zheng Juan.
Writing in this way can be said to be shocking, but it is very consistent with men's psychology.
Bingkun's psychology, we all know, is Liang Xiaosheng's.
It was Liang Xiaosheng who gave Bingkun such a description of "color and desire to wear".
Why did Bingkun not feel pity for Zheng Juan when he first saw her, but swept towards Zheng Juan with her bright eyes?
There are roughly three reasons stated in the novel:
One is that Zheng Juan is at home, and her clothes are relatively bare.
At that time, Zheng Juan was at home, busy stringing chaff gourds, this atmosphere is more warm, the "color food" itself is connected, and the red color of the sugar gourd also promotes an ambiguous atmosphere brewing.
Because at home, Zheng Juan's dress is also relatively simple, and the lines are prominent, directly forming a sexy external momentum.
The second is the contrasting impact of Zheng Juan's low identity.
Bingkun originally came to see Zheng Juan with a superior and rescue mentality, and there was a condescending mentality, but once he saw Zheng Juan, the whole person collapsed, and Zheng Juan was quite strong in a self-contained small environment, and a strong vitality was erected.
The third is the expected imagination of Zheng Juan, forming a disrespectful mentality towards Zheng Juan.
Zheng Juan is the wife of Bingkun's colleague Tu Zhiqiang, and Tu Zhiqiang is very unsightly in Bingkun's mind, and did not expect that Tu Zhiqiang could get such a vibrant woman, Bingkun's mentality, very instinctively produced A Q's "others touch, I can touch" mentality.
This mentality of Bingkun is not the first time it has appeared in Liang Xiaosheng's novels.
In Liang Xiaosheng's 1994 novel "Annihilation", the novel also writes about the emotional reaction of a similar mentality to Bingkun.
In "Annihilation", Liang Xiaosheng appears directly under his real name, describing a collision between him and his childhood friend Zhai Ziqing.
Zhai Ziqing's family was very low when he was young, and the "I" in the novel did not look up to him, and later he was sent down to the corps with "I", because of the family difficulties, when eating, he filled his stomach with stinky tofu, and among the intellectuals, he was also despised.
But later, in the tide of reform and opening up, Zhai Ziqing became an upstart and became the city's premier big money.
In the novel, "I", when I met Zhai Ziqing's wife, my first feeling was jealousy.
Because Zhai Ziqing's wife is so beautiful and sexy. In the past, "I" looked down on Zhai Ziqing, but now Zhai Ziqing has transformed into a big money, and has such a beautiful wife, and the superior mentality of "I" in the past is suddenly seriously lost.
We noticed that this mentality of "I" is exactly the mentality of Bingkun in "The World of Man" when he met Zheng Juan.
The "I" in "Annihilation", like Bingkun in "The World of Man", is stimulated by the woman in front of me like a woman, and I am overwhelmed.
In "Annihilation", it is written that "I" have a strong reaction in my heart when I see my friend's wife: "Every man has sexual associations in his heart when he faces a good-looking woman, which is already a conclusion made by the authority of science. ”
This sexual association is the first step, and then it is inherited to produce the Bingkun-style color "violent aesthetics".
In "Annihilation", he continues to analyze men's instinctive reactions to beautiful women: "When you verbally say that you 'appreciate' their beauty, your subconscious is full of the idea of raping them. ”
The "Annihilation" also quotes the scriptures, expounding this idea, which has a broad common basis for celebrities, and I will not quote it here. You can see which celebrity said it from the screenshot below:
So, how do women react to this idea in men?
In "The World of Man", Zheng Juan fully understands Bingkun's impatient desire to release the motivation, giving him the comfort of ise, which is a kind of talent and generosity of women's empathy.
In "The World of Man", Zheng Juan penetrated Bingkun's heart and comforted him, the main word was that she was also thinking about him, so that Bingkun would not blame herself. Her exact words were: "I always miss you...".
It was Zheng Juan's meticulous response that made Bingkun's courage double, and finally took Zheng Juan in his arms.
This mutually reinforcing model of love also presents a similar process in "Annihilation".
The "friend wife" in the novel "Annihilation" did not blame "me" for her cowardly behavior, but compared her heart to heart and comforted him: "Between the two of us, you don't always think about yourself, how different from me." ...... I'm the same as you. I want it from you too. ”
In this way, both men and women comfort each other to release the "guilt of desire" through the statement of "both desires", so as to obtain the equal drive and concerted efforts of desire satisfaction.
It can be said that the desire release model in "Annihilation" has a common internal structure and psychological basis with the love contact model of Bingkun and Zheng Juan in "The World of Man".
This reflects that a writer sets the psychology and behavior of the characters according to a fixed pattern.
For example, Mo Yan's pen, women's red clothes, always cause a strong reaction from male characters.
Chen Zhongzhong, the author of "White Deer Plain", described the love action, which is the same as the "bottom of the stomach".
Liang Xiaosheng's desire release process also has his law of similarities and differences.
In "The World of Man", the description of desire in the stage of desire writing that Liang Xiaosheng once had was reduced, and returned to the main depiction of real life, but the desire template of Liang Xiaosheng in the era of desire writing will still tenaciously dive into his text, thus forming a similar love description with a consistent core.
Liang Xiaosheng made a certain degree of covering up the tone of the middle-aged works of naked desire in "The World of Man", cleverly seeking a balance between reality reproduction and desire description, so that the novel can be widely accepted by the public, and in the original novel, the peaceful coexistence between Cai Xiaoguang and his lover and Zhou Rong can still see the traces of Liang Xiaosheng's desire depiction stage, so when the TV series is adapted, all are deleted.
Liang Xiaosheng was once known as China's Balzac, and liang Xiaosheng did not feel much glory, and he was a little scornful, but if Liang Xiaosheng was compared to China's Maugham, it was comparable. Maugham's works are between popular literature and new wave literature, the text is not difficult, easy to analyze emotions, the rhythm is bright, the discussion is unique, and it can touch the secret of human nature, which is generally Liang Xiaosheng's writing style. Liang Xiaosheng explores the hidden conflict between the human natures of men and women in "Annihilation", reminiscent of Maugham's "The Moon and Sixpence".
In "The World of Man", Liang Xiaosheng still retains Maugham's similar attempt to analyze people's secret desires in "The Moon and Sixpence", thus constituting a strange setting in Chinese literature that is rare in Chinese literature in the love relationship between Bingkun and Zheng Juan, using desire to connect two people. In the category of a great literature, we can see the depiction of Liang Xiaosheng's novel in which the sword goes sideways, with the discomfort and strangeness brought about by his drawing on ready-made templates from other literatures.