[Wang Xiong interestingly talks about the beauty of the writing of "Dream of the Red Chamber"] (9) Lecture 2 The life scene of Zhou Rui's family sending flowers

The Red Chamber

Beauty

Opening words

● "The Beauty of "Dream of the Red Chamber" Writing". The author Wang Xiong accurately interprets the beauty of the writing of "Dream of the Red Chamber" from the aspects of the beauty of structure, the beauty of words and the beauty of artistic conception in humorous and simple language.

Excerpts from the book are excerpted and shared with friends on the ten-meter balcony in the form of continuous broadcasting. Hope to help your writing and enjoy the joy of writing together.

Lecture 2

How does "Dream of the Red Chamber" use details?

Issue 9: The life scene of Zhou Rui's family sending flowers

3. Baochao treats things - things do not concern themselves

Baochao has an innate talent for dealing with human feelings and sophistication. She can be with everyone without being humble, not alienating, not being separated, and maintaining a natural and appropriate relationship.

The twentieth time, Jia Huan played Go with Baochao, Xiangling, and Ya Guiying, and played Lai when rolling the dice, obviously a man, but said it was a six-point. The warbler was not convinced.

"When Bao Chao saw that Jia Huan was in a hurry, he looked at Ying'er and said, 'The bigger you are, the more unruly you are, do the grandfathers still rely on you?' Don't put down the money yet! Ying'er was dissatisfied, complaining that Jia Huan was not as generous as Bao Yu and bao Yu, and Bao Chao did not wait for him to finish speaking, and he drank it off in a hurry.

Just as Bao Yu came, "Bao Chao was afraid that Bao Yu would teach him a lesson, but it was not interesting, so he rushed to cover up for Jia Huan." ”

It is true that "things do not concern oneself" is only for external affairs and family affairs, but Xue Baochao is doing his best.

Forty-seventh time, Xue Pan was beaten. After Xue Pan was led by Liu Xianglian to the wilderness and humiliated and beaten, the Xue family was disgraced. Xue Pan threatened revenge, and Aunt Xue also "intended to tell Lady Wang to send someone to find Liu Xianglian."

In the face of the handling of this incident, Xue Baochao showed great calmness. She hurriedly advised: "This is not a big deal, but they eat and drink together, and when they are drunk, they are normal." Whoever is drunk and gets beaten a few more times, there are also some. Moreover, the lawlessness of our family is also well known. ”

In fact, on major issues of right and wrong that concerned the Xue family, Xue Baochao was aware of the overall situation, took the overall situation into consideration, and adopted an attitude of calming things down. It's not just sleek, it's more about sanity and calmness.

The Red Chamber

Beauty

Third, pay attention to the details of the scene environment

To restore the vivid and lively sense of the scene as the starting point

The typical environment in the novel is indispensable for detail.

There are more than 300 characters before and after "Dream of the Red Chamber", and these characters are in their own living environments. Cao Xueqin always shows the scene of life in the dynamic, guides the reader to integrate through details, and follows the joy and sorrow of the characters in the novel.

The detailed description sets off the environmental atmosphere, creates an environmental atmosphere, and promotes the in-depth development of the story.

1. Scenes of daily life

The complicated life scenes in Jia Fuli are originally a poetic picture. In Cao Xueqin's pen, spring flowers and autumn moon, the scene melts. Eating and living, children's infatuation, marriage and funeral, associations and poetry, etc., are full of fun and interesting.

Deep house roof ridge, pavilion terrace, small bridge flowing water, mountain stone Yongdao, beautiful, beautiful. These scenes and environmental expressions are by no means idle writings outside the story, but an integral part of the novel as a whole.

Many stories take place in specific scenes, and with the development of the storyline, boiling jia fu's tasteful life.

The seventh time, "That week, the Rui family and Zhi'er nagged for a while, and then came to Sister Feng'er." Through the middle of the road through Li Feng's back window, through the glass window, I saw Li Feng sleeping crookedly on the kang. So he crossed the West Flower Wall and exited the West Corner Gate to enter the Fengjie Courtyard. ”

Li Feng's nap is a scene of daily life, which seems to be incompatible with the Zhou Rui family's flower-sending style. However, if you want to look at the "room affairs" carried out by Feng Jie at this moment, you know that Li Feng is written here, which is intended to be compared with the details of the scene behind.

"When I walked to the hall house, I saw the little girl Feng Er sitting on the threshold of Sister Feng's room, and when she saw Zhou Rui's family coming, she hurriedly waved her hand and told her to go to the east house." As he was speaking, he only listened to a burst of laughter over there, but there was Jia Lian's voice. Then the door rang, and Ping'er came out with a large copper basin and asked Feng'er to scoop water in. ”

Among these details, there is Feng Jie's laughter, Jia Lian's voice, Ping'er's figure holding a large copper basin, and Feng'er's busyness scooping water.

Look at the scene where Li Feng is alone "crooked on the kang", the shape is only a single shadow, and there are many misery. And for the long years to come, she will spend it so lonely and miserable. This contrasting expression of scene details is far-reaching.

tradition

mores

On the twenty-eighth occasion, Bao Yuji hung up Lin's sister, ate tea, came out, and went all the way to the West Courtyard. "But when I happened to walk to the door of Sister Feng's courtyard, I saw Sister Feng pedaling the threshold to dig her ears and pick her teeth, looking at a dozen or so small flower pots."

It's a very dynamic life scene. There are many details such as the posture, action, and perspective of the characters. Sister Feng stepped on the threshold, holding the ear digger, while flossing her teeth, while watching Xiao Wei move things. Sister Feng's leisurely, lazy, domineering demeanor jumped on the paper.

The detailed description of the scene of "Dream of the Red Chamber" is closely related to the storyline. When Jia Fu was prosperous, the tone of the scenery was mostly cheerful and pleasant.

When Jia Province declined, it was sad and cold. Judging from the description of the scenery, the first half is more of a lush color of spring and summer, and the second half is more about the scenes of autumn and winter.

The Red Chamber

Beauty

About the Author:

Wang Xiong is a member of the Chinese Writers Association and a scholar of Hanshui culture. He is currently the chairman of the China Railway Writers Association, and an adjunct professor of Southwest Jiaotong University and Suzhou University of Science and Technology. He began to write literature in 1989 and has written many novels, essays, reportage, and academic treatises, totaling more than 5.8 million words. Many of his works have been published or reprinted in key newspapers and periodicals such as People's Daily, People's Literature, Chinese Writers, Youth Literature, Selected Novels, and Selected Novellas. Representative works include the novels "Yin and Yang Monument", "Passing on the Ancients", and "Jin Kui Yin Lou" (collectively known as the "Hanshui Culture Trilogy"). Long-form reportage works such as "China Speed" and "China Power" have been translated into English, French, German, Spanish, Russian, Arabic, Japanese, Romanian and other languages, and published by foreign language publishing houses or foreign publishing houses, and distributed to the world.

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