"Fengqi Wu": Phoenix Nirvana that reflects the thousand-year-old context

Wen | Yang Sumei

Lu Xun clearly pointed out in "Take-Ism" that for culture, it is necessary to "use, or store, or destroy." The image in Chinese literary works, through repeated reflections and questions on traditional culture, negation of denial again and again, absorbs nutrients, and contains Yingzuihua, and finally completes the gorgeous transformation of itself in the new century, of which Wang Fangchen's short collection of works of "Fengqi Wu" is an extremely prominent representative.

"Fengqi Wu" by Wang Fangchen, Shandong Literature and Art Publishing House

The novels in "Fengqiwu" are his short works in recent years, which epitomize the remarkable artistic achievements he has made in the field of short story creation. The twelve novels reflect the sophistication of the current society, and with their thick connotations, they show their great ability to dialogue with real life, history and human nature, and shape a plump artistic image. These images are very different from similar images in literary history, and they echo each other spiritually.

The big jade in "Running Big Jade" resolutely took the map of China and left the village. Dayu is consciously running away and looking. He did not regard the traditional peasants' approval of "marrying your own children and getting rich" as a major event in his life. He has detached himself from the worldly life and is a spiritual endorsement. This is different from the numb and hard-working leap soil, and also very different from the image of the peasant in the vernacular literature of the new period.

The peasants of the new century, a collection of short stories "Fengqi Wu", have many spiritual pursuits. When Da Yu went out, he either worked, created a career, or left, and when he came back, although he did not have a wife, house, or car, he did not fall down. There is light in him.

Kang Ye of "To Fu Zhu", his son has a successful career, he can enjoy his old age in peace, but he runs away from home, with two mallard ducks, as if he wants to save the world. On the way out with the mallard, he met the flower turban and her performance team, and Kang Ye actually participated in the performance, but he did not stop, but continued to walk forward, chasing his mallard. These acts are more symbolic and give people metaphysical thinking.

These images, of course, have the spiritual pursuit of the Chinese peasants after the material satisfaction of the new century, and even more the literary consciousness of the writer himself to dig into the hearts of the characters. In particular, the peasants Jin Laoben and Guangzijun in "BaojunZhi" have been with each other all their lives, beyond the feelings of people and animals. The author uses poetic language to express it, which makes people feel the companionship between life and life, which is touching to the heart. This expression and feeling far exceeds the feelings and images of people and animals in traditional Chinese literature, conveys the author's respect for life, and expresses the peasants' nostalgia for traditional culture and traditional way of life. This contradicts the real life and social development trends, and this contradiction makes the text produce a huge discursive tension, which has the meaning of the philosophy of life.

Secondly, the female figure in this book has both daily fireworks and maternal brilliance. The aunt of "Whispering" takes care of her sister and her sister's whole family, and takes care of her sister's mother-in-law to win the praise of her neighbors. After the death of his sister, he resolutely moved to Arsenal Street to watch over his niece. This kind of watching is not the watchfulness of the self-sacrificing moral model that many people think, but the watchful watch of daily life to survive. The repair of the lock and the key give this watchman a material basis, and also make her naturally integrate into the environment, becoming a cultural symbol of Arsenal Street. This image is something that everyone has in their hearts and that others do not have. She embodies the virtues of traditional women, but also reflects the mastery and wisdom of traditional culture.

"Mrs. Lin" of "The Grace of Maihe", after losing her daughter and husband, became a so-called widowed old man, but she did not become decadent, but had a certain empathetic understanding of the hardships of the world, which was evident in her handling of her relationship with Maihe. Knowing that "Mai He" was a thief, he still covered for him in front of the police and accepted him to the door. In the process, you can feel her generous motherhood and tenderness, even in such anticipation, Mai He is not easy to change her quirks. And Mrs. Lin stubbornly uses her own kindness and her own persistence to change one person and repay the grace of another person. This goes beyond the maternal brilliance in the traditional sense, but also flashes the brilliance of human nature and sociality. However, this image is in line with the traditional culture and traditional literary image. You seem to have seen Zhao Kuo's mother's feelings of home and country, the excellent cultural inheritance of "the old and the old, the young and the young," and you have seen the new brilliance of this excellent traditional thinking blooming in the new century.

In addition, gentry culture has always been the dominant culture of traditional Chinese culture. The sages of ancient China, no one was born to know, they were all learned, so their theories were open and developed. If you don't stick to it, you deviate from the spirit of the sages. Literature is anthropology, and seeing a person's character from daily life should be what literature should do. As Li Yan said, "Eating and dressing, that is, human ethics." In daily life, write about the character and value of people.

In "Big Blocks Standing", the persistence of large blocks of iron, especially the control of the quality of the pot, can see the faith of traditional Chinese and the persistence of traditional craftsmanship. This persistence has enabled many crafts to be passed down, and this spirit has been passed down from generation to generation.

Miwang in "This Moment the Sky Is Long", after having been wide, regained the art of engraving, fascinated by engraving, and forgot everything, like the old man who caught cicadas as Zhuangzi said? Don't forget all about it, if you only focus on the cicada, you can easily catch the cicada that Shanfei is alert. This is the attachment of life.

The excellent short story "Fengqi Wu", which has the same name as this book, can better express the author's understanding of the gentlemanly demeanor of traditional culture. "Fengqi Wu" starts a vivid and skillful narrative from the two things of the most pyrotechnic people's livelihood "eating and wearing", and through the comparison of several pairs of characters, writes out the author's life ideals and perceptions, and the realm is accessible and wonderful.

The first pair of characters are the shi brothers Miao Fengsan and Lu Yifu. Miao Fengsan was good at kung fu, but he hid it deeply. Super good temper, do not argue with people, to make a bun and sell bun for a living. Lu Yifu, who is a tailor, used to show martial arts in front of people earlier, and loved to talk about the benefits of martial arts training - "can go to the physical and mental stagnation, stuffiness, evil, yin, mold, turbidity", and also accepted apprentices, and repeatedly praised his brother Miao Fengsan. Miao Fengsan did not admit that he had martial arts. However, this made people have an inexplicable expectation of his martial arts, and it also made people have a sense of mystery, and this mystery summoned Qingpi Xiaofeng.

Xiao Feng's visit to the teacher with great fanfare was an expectation and affirmation of Miao Fengsan's martial arts, and Miao Fengsan refused without hesitation, seeing his and the attitude of honest street people towards Xiao Feng - contempt. But he didn't shoot and didn't admit it, what was the reason? It stems from the recognition of this traditional form of martial arts. Therefore, don't say that The green skin Xiaofeng is a good offspring, and Miao Fengsan cannot take disciples.

Where did the martial arts on the body go? It is placed on "single-mindedly making noodles", on the reform of steamed bun products, on making steamed buns with machines, on the sudden realization of how to deal with people, and on the behavior of not arguing with people. This makes people look taller than Lu Yifu, who is obsessed with martial arts. Lu Yifu has always been obsessed with martial arts, and he has set limits on tailors, making the business worse and worse.

The contrast between Mr. Mi's transparency and avenue is unspoken, and the folklore experts stick to the form of sour rot, the comparison between the two can also show the author's accurate grasp of the personality of traditional culture. Traditional culture is not the ancient food, not the old form, but Confucius's "learning without getting tired, teaching people tirelessly", Mencius's "nourishing the haoran qi", Zhuangzi's "entering the skill" of the "Tao", is the habit and sexual formation under the big dream.

In this sense, "Fengqi Wu" inherits the humanistic tradition of "carrying the Tao with literature", writes out the true traditional culture and spirit, and writes the blood of the Chinese, which can be said to be deep in the essence of classical classics. "Fengqi Wu" is an artistic portrayal of the Chinese millennium spirit, and it is also a rebirth after a hundred years of struggle.