<h1 class="pgc-h-arrow-right" data-track="1" > creative features</h1>
<h1 class="pgc-h-arrow-right" data-track="3" > ideological theme</h1>
<h1 class="pgc-h-arrow-right" data-track="34" ></h1>
Zhang Hateshui is a unique "modernity factor" in the novel, which is mainly manifested in the protagonist's spiritual temperament, that is, the helpless sadness embodied in their relatively weak psychological structure and mental state. Because, in essence, this sad temperament of the protagonist can be regarded as a kind of mood of the times, the awareness of the times, and the public emotions. In Zhang Hexhui's novels, this kind of "sadness" and "crying" becomes a certain aesthetic sadness that permeates the text, and is fully "poetic". This helpless sad mood of the times does not exist as a "composition" of the text, but is somewhat illusory.
Many of the characters in Zhang Hexhui's novels better embody this "dreamy" quality. Most of them belong to the same spiritual type, the general emotional richness, rich in talent, are sentimental charm of the "talented" or "talented woman", belong to sentimentality and with a slight neurotic heterogeneous color, sentimental, most of them suffer from "tuberculosis" disease, depression and the like. Emotionally weak, physically weak, their personal efforts ultimately fail to fit in with the times.
Lonely, sad, melancholy, helpless, full of resentment and sighing. However, their individual spiritual qualities thus gave a certain obvious "dream color" a strong "romantic sentimentalism" atmosphere, and for the readers at that time, they were more identified with the fantasy of "realistic phantoms with safe meaning" Romantic thoughts, seeking temporary "dream" liberation in the boundless repression. Therefore, the "romantic sentimentalism" that Zhang Hexhui said is not only a vivid embodiment of the emotions of the times, but also the charm of the novel itself.
<h1 class="pgc-h-arrow-right" data-track="30" > second, desire narrative</h1>
This kind of theme is not only expressed from the depiction of trivial matters in Zhang Hexhui's works, but also from the way men and women fell in love at that time. In many of his romance novels, he wrote about the plot of the mother selling her daughter in disguise. Many of the heroines in Zhang Hexhui's novels are mostly "women of the times" from the perspective of social values. Zhang Hexhui's "women of the times" has more secular value tendencies, is more real, more general, and therefore more representative.
They are a manifestation of the values of the times, the desires of the public: the betrayal of love by money. This theme of money betrayal of love is profoundly expressed in Zhang Hexhui's novels. In fact, this mode of fiction contains precisely a certain social universal value orientation and cultural psychology of the time, and in these seemingly similar and commonplace stories, "some kind of unconscious or suppressed need, or obvious and symbolic form of the underlying motives that they must express but cannot be openly confronted" grown in the culture of the time.
The love written by Zhang Hexhui is the love of ordinary men and women rooted in the worldly fireworks, and it is a love story of ordinary life. They make no secret of their pursuit of money, showing a view of love under economic domination. Zhang Hexhui has rewritten the romantic love story in Chinese literature with a sense of the times, and restored the sacred utopia of male and female love to a modern secular ethic. The female figures in Zhang Hexhui's pen already have a certain obvious modern secular value concept, and their choices in money and love represent the choice of a civic culture.
<h1 class="pgc-h-arrow-right" data-track="31" > third, the theme of justice</h1>
In Zhang Hexhui's novels, the righteous "fantasies" of ordinary citizens are mainly expressed in the "condemnatory" theme and "chivalrous" themes of his novels. The theme of "condemnation" has a certain "shady" nature to a certain extent, in order to satisfy a certain "resentment" of the ordinary citizens of the time towards high society--a suppressed political desire, and the underlying dissatisfaction and the fantasy satisfaction of social justice arising from the politics of the time. The reason why these social "black curtains" can arouse the widespread attention and interest of ordinary citizens is that in addition to the "black curtain" itself has a certain irritation, it is more important to satisfy the ordinary citizens' repressed and potential desire for justice.
The principle of justice, which they could not achieve in real life, is compensated here by some kind of substitution. In addition to this kind of "condemnatory" depiction, it is also manifested in the "chivalrous" component of Zhang Hexhui's novels.
Under the surface of the "chivalrous" story of the plot, it is still a social topic, a certain tortuous expression of the desire for social justice at that time. As such, they are still "righteous" theme novels. This kind of novel more embodies a kind of "chivalrous sentiment" and "chivalrous feelings", a spirit of hoeing the strong and helping the weak, practicing chivalry and righteousness, and fighting unevenness. In fact, Zhang Hexhui has his own understanding of the theme of "chivalrous" novels. The lower class had no grievances to do, so they entrusted this fantasy martial arts figure to relieve the bitterness in their chests. Both "romance" and "chivalry" were associated with the social problems of the urban masses at that time. Zhang Hexhui's large number of "exposed" novels created in the 1940s expressed the same folk theme of "justice". However, it is another aspect of justice, the accusation and criticism of corrupt officials and moral corruption.
<h1 class="pgc-h-arrow-right" data-track="11" > artistic features</h1>
<h1 class="pgc-h-arrow-right" data-track="27" > novel</h1>
First, the third-person narrative
One of the stylistic characteristics of Zhang Hexhui is the existence of a large number of third-person narrative models, which has a potential and inevitable connection with China's unique cultural background. Zhang Hexhui is a traditional Chinese literati and holds an affirmative and propaganda attitude towards traditional Chinese literature. Even in the era of "May Fourth", when first-person literary works were flooded, his novels still rarely adopted the first-person form, and their forms maintained the most primitive nationality and tradition in terms of personal names.
In addition, because the third-person narrative mode of ancient Chinese novels mostly focuses on the performance of the storyline or the shaping of the characters, it lacks deep internal conflicts and human content, and the lack of psychological description and roughness is obvious. This situation has been improved in Zhang Hexhui's works. His third-person narrative model is not an accidental stylistic choice, but represents Zhang Hexhui's attitude towards traditional Chinese culture. He tells the story of the new era in the most common and common form of traditional Chinese novels, expresses his own and people's views on the new era, and integrates tradition and new culture without a trace.
<h1 class="pgc-h-arrow-right" data-track="23" > second, the structure of the novel in the chapter body</h1>
Zhang Hexhui's novel works follow the path of popular fiction creation, most of which adopt the form of chapter hui body. He has a special love for chapter hui body novels, and theoretically has made a more in-depth discussion and study of the nature of the chapter body and how to transform the structure of the old chapter back novel, and has successfully applied it to his novel creation.
He applied and emphasized the traditional chapter style, but did not insist on it without improvement. He integrated China's traditional novels with the expression methods of modern Western novels, and carried out new explorations and improvements in character shaping and plot structure, showing different characteristics from the old Chapter Hui popular novels. For example, in terms of plot structure, Zhang Hexhui combines the twists and turns and fascinating characteristics of traditional novels with the openness of the plot structure of modern novels, abandons the traditional aesthetic concept of reunion that whitewashes Taiping, and adopts the form of tragedy to end.
<h1 class="pgc-h-arrow-right" data-track="22" > third, the character language with distinct personality</h1>
Zhang Hexhui's language style is kind and gentle, subtle and restrained, like a calm and unhurried, well-behaved Confucian, which just forms a corresponding relationship with the aesthetic psychology of the Chinese people, and there is a corresponding inheritance relationship with traditional Chinese culture. At the same time, in addition to continuing the traditional characteristics of the Chinese Chinese, Zhang Hexhui also has his own personalized characteristics. In his novels, a large number of social dialects are used to make the language extremely expressive.
His characters are full of personality and vitality, showing readers a series of local genre paintings with very different styles. The use of post-break language, colloquialisms and folk proverbs makes the novel more witty tone and sense of humor, vivid and lively, and closer to the real life of the reader. In addition, the characters who appear in the novel have a rather distinct language personality.
The speech of different characters in the work has its own different characteristics, and the use of jargon, terminology, vernacular and black dialect not only vividly depicts folk customs and folklore, but also has reference and reference significance for the study of linguistics. In his works, there is elegance in the custom, and there is elegance in the vulgar, which truly achieves the common appreciation of the elegant and the vulgar, and realizes the unity of the ya culture and the vulgar culture. There is both sharp criticism but not humor; indignant accusations, but without losing weight; both serious themes and interest; both witty and plain narratives, but also extremely poetic.
<h1 class="pgc-h-arrow-right" data-track="26" > prose</h1>
Zhang Hexhui's prose not only more directly, more concentrated, and more specifically embodies the writer's ideological feelings, personality awareness and aesthetic tastes, but also has a thick content, a wide range of themes, a variety of genres, and a complete range. Narrative description, writing of human figures, lyrical speech, argumentative criticism, theoretical inquiry, academic ramblings, and art appreciation are all involved in; the use of various forms such as American essays, essays, commentaries, casual feelings, trivia, ramblings, long essays, short speeches, and aphorisms is even more familiar and handy.