Cover news reporter Zhang Jie
On the morning of October 11, the "Seminar on Ma Zhitu's "Continuation of the Night Tan" was held at the Golden Bull Hotel. More than a dozen first-class literary critics across the country, including Li Jingze, He Xiangyang, Zang Yongqing, Pan Kaixiong, Shi Zhanjun, Xie Youshun, Li Fang, etc., each analyzed Ma Lao's literary achievements, characteristics, and significance from the perspective of their own reading and appreciation. Professor Xie Youshun from the Department of Chinese of Sun Yat-sen University elaborated on Ma Lao's works in depth from many aspects such as literary history, language characteristics, and character shaping.
Xie Youshun (1st from right) speaks
Xie Youshun particularly sighed, "Writers like Ma Lao may become fewer and fewer in the future, or even none." Because his experience and life are so legendary and rich, and the people he contacts are also all kinds of people, these first-hand writing resources cannot be replaced by second-hand experience from reading. Today's young writers and even future writers mostly follow the path of receiving university education, working in cities, and reading world famous works, and rarely come into contact with folk history and folk figures, and the influence of such writing will become more and more niche. Qian Mu said that whenever he does learning, he should be able to understand the life of the body, and you can learn from the life of the body. The ancients called it "life", and today's people call it "era". Whoever becomes a family of speakers has the nature of the times in his or her knowledge, and he cannot integrate his life into his studies. The same goes for writing novels. Through Ma Lao's writing, we can see the people of that era and the times, which is the background of his writing. ”
When xie Youshun shared his reading experience, he said that Ma Lao's novels have a sense of scene, locality, fun and vitality, which is really a unique vein in contemporary novels. He shared a few of his thoughts. First of all, he mentioned that Ma Lao's writing shows that "no matter how much exploration and revolution the novel goes through, the core thing may not change, that is, we still have to think about how to tell a story, how to shape a character, how to preserve the language ecology of a place through a form of life." He presents himself as a storyteller, paying tribute to traditional narrative resources and innovating the way Chinese stories are told, with many new ideas. ”
Second, he believes that the significance of Ma Lao's writing is "to make us realize another group of people, another China." The characters of Yang Xiaohong, Yang Shanren and so on in Ma Lao's novels are all people with another way of living, people we are not familiar with. His literary world makes up for our folk understanding of China's living waves, and lets us know more distant things in space and time. From this, I thought of the structure of the Chronicle of History. Of the one hundred and thirty chapters, there are twelve books, ten tables, eight books, thirty lineages, and seventy lineages. "Benji" records the emperor; "Shijia" records the princes; "table" and "book" list lineages, historical events, and record the development of the system, which is actually a summary of the governance of the country and its results; "Liechuan" is a person as the core, in addition to the powerful ministers and secretaries, doctors, chivalrous guests, adulterers, divination, etc. If the "History" is regarded as an important literary resource, the character descriptions in the biography are the most vibrant, and these people also constitute an important part of a solid China. ”
Ma Lao's sentient characters also made Xie Youshun think that in Chinese society, there are water margins in addition to Confucius, and there are people who live according to the values of water margins, "If the power of this kind of person is not endorsed, if no one is shaped, if no one comes to write, these people will be drowned forever." This kind of person has his own way of living, and this way even carries a certain fate, but he has a vigorous vitality, a very strong vitality, this vitality must move, the primitive life force is always ready to move, you have to make him move, to burst out, if you don't let it burst out, this force has been surging. This life force is particularly alive. Li Kui in the Water Margin, watching other people's families move their fathers up the mountain, he also went down the mountain to move his mother, and as a result, the mother was eaten by a tiger in the deep mountains. Come back to tell everyone, everyone laughed, coaxing the hall to laugh is not the same as saying that everyone has no sympathy for his mother's death, everyone just thinks that Li Kui is funny, can't move his mother, they laugh really, not hypocritical, but frankly live. They don't talk about Confucius's standards, Confucius's standard is that as long as his mother dies, she will cry, we must sympathize with him, we must comfort him, we must mourn, they feel that this thing is not needed in front of Li Kui, this is hypocritical. ”
In "Water Margin", such a group of people are called "Hanzi". In Xie Youshun's view, "a man and a hero are not the same." Hanzi is not a simple hero, the hero carries traditional moral values, and Hanzi is to go straight and go straight. "Water Margin" especially presents this group of people, their values and behavior, if according to the standards of Confucius, or according to the standards of Lao Zhuang and religion, of course, they are lamentable, but they themselves do not think so. They live according to the inner, primitive, authentic power, they confess their guilt when they are guilty, and the good man does good things. It is difficult to say in terms of traditional literary values, to sympathize with him, to have compassion for him. They don't feel that they want sympathy, will Li Kui and Lu Zhishen want your sympathy? They are a different way of living. ”
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