Lian's creative process

Li Yu's mime and The Twelfth Floor were published several years after he moved from Lanxi to Hangzhou. The first issue was "Mime Fiction", 12, followed by "Mime II", with 6 articles. In the seventeenth year of Shunzhi (1660), the assistant minister of the Ministry of Industry was disintegrated, and one of the charges was "directing" (in fact, it was funded) for two episodes of mime, including whitewashing the words that greeted Li Zicheng in the past, so Zhang was exiled. After rearranging the two books, Li Yu changed an article about and renamed it Lian, which was divided into two episodes, *** 18. The twelfth floor includes 12 novels, each of which is written on the first floor, hence the name. At the beginning of the volume is Du Jun's preface, and at the end of the first preface is the title "Shunzhi Mid-Autumn Festival Clock Leaving Jun Water".

Li Yu's novels, like operas, are carved and sold by himself as a means of making a living. The title of his first collection of novels is Silent Drama, which means opera without singing. It can be seen that he pays equal attention to the novelty and interest of the story in his novel concept, which also means that he wants to win the readers' joy in writing novels. Therefore, he got rid of the practice of adaptation and conformity, had a conscious sense of creation and was determined to innovate.

His two collections of novels consist of 30 short stories, most of which are written by himself according to his personal experience and imagination. Later, he was quite conceited and declared: "If I don't know the official unofficial history's words, it will be a little longer, which will have no effect on a beautiful woman, and will not be spurned by celebrities. My eyes and ears are brand new to me. For decades, there is no one on the lake. I don't know how much I talked about and slept for the world! "

Li Yu's novels do not describe the reality of social life. Most of the novel worlds he created are specious with the real world, which shows not the real life, but his unique experience theory and the interest of the dance academy.

In Widowed Wives, Cowards Never Die, Yin Fei has more than 20 concubines. "Wives don't advocate sour wind, and I don't know the taste of vinegar." Some men who couldn't bear to be disturbed by their wives and concubines came to ask for advice. He pretended to be the "jealous manager", went to the altar and said that he had widely given "anti-vinegar prescriptions" and led all believers to envy their neighbors. This is the story in his legendary "Cure Jealousy Soup", and readers can see the story of illusory life at a glance. Li Yu has many wives and concubines, and he has boasted many times that "I don't specialize in my wife, and I don't envy her". It is not difficult to see the inside story of his novels, and the public's "prescription to stop vinegar" is also the experience of the two masters in running their own families and curing jealousy.

Li Yu's novels also inherited a set of stories about famous teachers and good virtues, and there was always a sermon at the beginning and end of the article. A few works are all about persuading the good and punishing the evil and safeguarding the world. However, Li Yu seldom made a fuss about feudal ethics. Most of his articles were unique ways of eating, such as "cherishing the rich and the poor", treating all sons regardless of their own adopted sons, and persuading wives and concubines to remarry when they died. This shows that he is not a teacher of Taoism. Sometimes, he plays some jokes.

Lian Bi, the servant girl who brought up the children for her master, finally returned to the master's first house in The Banquet of Wives and Concubines Holding Pipa and Plum Fragrance. The author said: "It can be seen that it is not a loss to do good, which is called heaven rewarding diligence." In some chapters, admonitory preaching is just a perfunctory. The inherent teaching purpose of this novel has completely changed in Li Yu's novels.

Li Yu's novel creation shows a kind of entertainment in the game world. He once claimed that his novels and operas were: "Taste with joy and fantasy as a game pen." ("My Bank" and "Poems of Li Weng" Volume 5) Confessions are very frank and accurate. When he writes about disputes between social families, he always uses "happiness" to make good people not have to make big sacrifices, and finally gets good results, and the bitterness of life is diluted and dissolved; When writing about the ups and downs of life, I always use the "game pen" to make the characters in trouble suddenly turn around, get rich and be very happy. Although the novel is not completely without the intention of admonishing and punishing, it is mainly entertaining.

Jiang Cheng, a soap official, is called "Jiang unlucky" because of his bad eight characters. The fortune teller changed his horoscope and made good luck. He wants money and money. He wants an official. Although the author made some superficial articles that can't be justified, he said it was because Jiang Cheng was honest. In fact, he made up a story with the pen of teasing games to make readers happy.

Li Yu is aware of the difference between the artistic world and the real world, and has a positive creative consciousness in novel creation, but he overemphasizes the freedom of creation and thinks that he can "do whatever he wants" without any constraints. Therefore, his novels show subjective and random narrative characteristics and random plots. He does not hide his existence as a narrator, and always narrates in his own name and tone. Not only does he ramble after the first article, but the story he tells will also be involved in his explanation and humorous ridicule at any time. He rarely gives up narrative and makes objective display. Just as he said, he is too lazy to describe the appearance temperament and activity scenes of the characters, so as to enhance the credibility of the story and the rationality of the plot development. He chose a topic, and he manipulated the characters and weaved stories without scruple. He can easily make the soap collector Jiang Cheng, the stranded scholar Qin Shiliang (the misfortune of losing a thousand dollars leads to happiness) and beggars "not afraid of poverty" (beggars do good deeds and the emperor acts as matchmaker) rich just by saying his mantra. He wanted to write about the love affair of a gifted scholar, so he let the scholar Lu Zaisheng have good luck in the Peach Blossom Garden. Three prostitutes fell in love with him sincerely, and paid him to marry a good family and a rich widow who admired him. ("Widows design redundant grooms, and beautiful women compete for talents") This can only be said to be some interesting stories, not a true portrayal of life.

After all, Li Yu is sophisticated and literary, and his stories also contain the interest of life. Most of his novels have novel thinking, which breaks through the mode of novels of gifted scholars and beautiful women. "Tan Chuyu's love in the play, Liu Zhuyun's song died" is about the identity of the actor and the unique living environment. It is about the hero and heroine expressing their love on the stage with drama. In the face of being separated, pretending to be true and doing it, both of them fell in love with each other and became the most physical and intelligent love festival in Li Yu's novels.