"Wisteria Luo Waterfall" is an essay by contemporary writer Zong Pu, and it is also a beautiful essay in the fourth unit of the seventh section of the textbook. This essay, on the basis of writing scenes, is lyrical, has connotations, depth, and a unique and euphemistic meaning.
This article was written in May 1982, shortly after the end of the ten-year Cultural Revolution, zong pu's trauma as an intellectual had not yet fully healed, and her younger brother was also suffering from cancer and died soon after. From the nationality, the family, some of their own pain, can not be discharged, accidentally met a wisteria rose, "I can't help but stop" "I just stand and stare", from the wisteria rose from the decline to prosperity understand that life will encounter all kinds of misfortunes, but the long river of life is endless. Thus drawing strength from the wisteria flowers, I no longer wandered and anxious, so I "unconsciously accelerated my pace."
Obviously, this is an article of zhizhi, in this type of article, "thing" is the foundation, is the foothold of pen and ink, is the starting point of writing, "zhi" is the ultimate goal to be achieved, is the strong feelings contained in the heart, and the life realization of the self. Therefore, first of all, we must write the "things" well, and when the water comes to fruition, let it be lyrical and discussed naturally. Emotions come from things, discussions come from scenes, and it is a good article.
How to understand the word "scenery"? "Scenery" focuses on various things and the relationship between things, and "things" focuses on specific physical objects. If you write things well, you can naturally become a scene. The word "writing scenery" accurately reflects that "scenery" is an inseparable whole. I think that in this article, the emphasis is on "objects", that is, the depiction of "wisteria roses" in a heavy and colorful way. This "Wisteria Rosette" is the most beautiful scenery.
Today, we will take "Wisteria Luo Waterfall" as an example to analyze the article of The Tale of the Treasure and how to better write the scenery.
First, let's see how the author describes this vine:
I couldn't help but stop.
I have never seen such a blooming vine, only a brilliant lilac, like a waterfall, hanging from the air, not seeing its beginning, nor its ultimate, just a deep and shallow purple, as if it is flowing, laughing, growing non-stop.
On the large purple banner, there was a little silver light, like a splash of water. When I looked closely, I realized that it was the lightest part of each purple flower, teasing each other with the sun.
Here the spring red has been thanked, there is no crowd of flowers, and there is no bee around the butterfly array. Some are the shining, blooming vines of this tree. The flowers are bunched one after the other, one after the other, pushing and squeezing each other, so lively and lively!
"I'm blossoming!" They're laughing.
"I'm blossoming!" They shout.
Each spike is blooming above and to be placed below. The color was light and dark, as if the purple had settled down, in the youngest and smallest buds. Each blooming flower resembles a small, full sail with a pointed bottom cabin under the sail. The cabin bulged, and it was like a smile that couldn't help but bloom. What kind of fairy dew jelly is it filled there? I leaned in and wanted to pick one.
From the above "Wisteria Rose" close-up, we will carefully analyze what is superior about the author's writing scene
<h1>1: Turning static into motion, it depicts a flowing picture. </h1>
Wisteria rose blossoms silently, quietly solemn, free and luxurious, but in the author's pen, this is a flowing, flickering, crowded, laughing, lively picture. In the entire junior high school textbook, there are also vines in Ye Shengtao's "Suzhou Garden", "There are several gardens with ancient vines, and the winding branches are a good painting." When the flowers bloom, the pearlescent aura makes the visitors feel infinite prosperity and joy, but they can't say it. "Pearlescent treasure" is one of the characteristics of wisteria roses. In the face of the vine, it gives birth to "infinite prosperity and joy", so that people can feel the exuberance of life and the joy of life.
The technique of turning static into motion makes the scenes in the pen appear full of life, and can have a quiet and lively dialogue with the author. So, what are the authors focusing on?
First, dare to use verbs. "The color is light and dark, as if the purple has settled down, in the most tender and smallest buds." " Precipitation" is a verb of the table process, accurately writing that the color is the thickest, the most subtle, the most condensed, and the color that is "tightly grasped" when the flower is not blooming. And cleverly wrote out the layering of color, which is a gradient color from nature.
Second, the metaphor is novel. Wisteria rose flowering is a relatively static presence. In an instant, it is difficult to see the process of a flower blooming, and hear the sound of a flower blooming, although life is all moving. If you compare a static scene to a dynamic scene, then the still scene has a sense of movement, rhythm, vitality, and vitality. In the passage, the "vines that bloom so much" are compared to "a waterfall", this waterfall is vigorous and exuberant, because of the luster, because it hangs upside down, as if it is really flowing, splashing, flashing in the sun, making people feel the beauty of "flying down three thousand feet". Perhaps a wisteria rose flower is weak, but the waterfall composed of countless flowers has strength and momentum, and is the "grand" side behind the weakness, which makes us have to sigh the magic of life.
Again, make good use of anthropomorphism. Anthropomorphic rhetoric, giving wisteria roses a human temperament, they are lively and lively, they will push, laugh, and shout. "I realized that it was the lightest part of every purple flower, teasing each other with the sun." "Teasing" once makes the flower have a human attitude, cunning and cute. In the exchange with the flower, people and flowers warm each other with kindness. This always reminds me of Wang Zengqi's words: If you visit me and I am not there, please sit with the flowers outside my door for a while, they are very warm, and I have been watching them for many, many days. Anthropomorphic, the flowers in the pen are like old friends, able to speak, amorous, and empathetic.
But the use of metaphors, anthropomorphic rhetoric, is inseparable from associations and imaginations running through it. Association and imagination is a kind of writing method that creates, changes, and sublimates with the original as the central point. They make the "scenery" brewing and become what we like better.
<h1>Second: from the whole to the part, the layers are clearly portrayed. </h1>
Xiao Fuxing once wrote: How to write things, especially commonplace things, is unique and novel, and at the same time, this and that make people think a little, that is, both to see and taste, is the most difficult thing to ponder. Writing things "can be seen" is the premise of writing things "tasteable". How to see things, you should not only portray the overall impression of the object, but also focus on selecting the part for detailed drawing, and it is best to show the "beauty of things" 360 degrees without dead angles.
The author meticulously describes the wisteria roses, first from the overall feeling, like a waterfall, is a large purple banner, and then from the local pen, in turn describes the flowers, trees, flower spikes, and flowers. From top to bottom, in a clear hierarchy, it conveys a kind of stop-and-go beauty. The perfect "photograph" writing idea is often large and small, from far and near, not only looking at the whole, but also carefully observing the part, observing thoughtfully and meticulously.
<h1>Three: multi-angle portrayal, tangible and colorful and vibrant. </h1>
From what angle should we "shape"? From the shape of a "thing", color, smell, sound, texture, luster, light and shade and other aspects of the delicate description, grasp the characteristics of things, and strive to exhaust the form. This article focuses on the color and shape of the flowers.
Purple, noble, heavy, but not lacking in liveliness and brightness. The author describes purple, using words such as "brilliant", "deep and shallow", "shallow and deep", and the purple displayed in front of the reader is like a shining satin, bright and deep.
The overall shape of the wisteria rosettes is like a waterfall; every day the flowers, like full sails, like a smile that can't help but smile. How high the value of the body of the figurative sentence depends on the external beauty of the metaphor. From the falling waterfall, the sailboat, and the smile, whether it is the appearance or the connotation, it gives people the feeling of warmth, is bright, is hope.
Fourth: The exquisite depiction of the scenery is actually a paving for lyrical reasoning.
The ultimate goal of writing a scene article is to reflect the emotions, sentiments, spirits, feelings, wishes, and so on of the characters. Scenery is generally only the carrier of expression. Every stroke of writing a scene, step by step, laying the groundwork layer by layer, is reasonable for lyrical discussion.
After making a "close-up" of today's wisteria rose, the author then recalls the decline of the flower ten years ago, in the contrast between the decline and prosperity of the flower, as well as in his own experience, he realized the natural law and philosophy of life that "flowers and people will encounter all kinds of misfortunes, but the long river of life is endless". Without bumping into this tree flourishing, without looking at each other, without shock and enlightenment, how can such an open-minded and intelligent realization come about? "Here the spring red has been thanked, there is no crowd of flowers, there is no bee around the butterfly array", this sentence is not only an objective situation, but also a reflection of the author's subjective emotions. In the long road of life, especially at the low point, there is no audience that applauds us, but we must live beautifully and wonderfully, and there is no kind of darkness that can stop the joy in life. This is inseparable from the central sentence of the following text, and it is a suitable foreshadowing.
A writer once said that simply writing about things will never be good, because such writing will only materialize our hearts together. If we artificially set the theme for things, it is difficult to write well, because we have not really found things that echo people from things, or we have found ideas that have not been turned into living thoughts, penetrating what we want to write, and things are dead, not really alive.
Therefore, the things in the writer's pen are also things in people's hearts, and they are a kind of scenery with the viewer's own sense of life. When writing scenes, people's thoughts and emotions should be transformed into air, flowing and fluttering in the scenery.
People who have studied Gongbi Chinese painting know that a stroke of pen outline, a little bit of coloring, go far to see, close to see, just for this style. In short, the article of the Zhizhi and the writing of the scenery are the foundation. Starting from the scenery, slowly moving towards the warm blossoms of spring.