Fortune teller Lao Yang _ Fortune teller Yang

Appreciation of a work worth ten thousand sentences.

"One sentence is worth 10,000 words" highlights not only the struggle for the survival rights of Pepsi, but also the dream pursuit triggered by people. They know the world at the bottom for survival, and they have their own dreams in their hearts. Moses Wu sometimes thinks of Luo Changli, which is his dream. Regarding the pursuit, alfred marshall said a very plain sentence: "People's desires and hopes are endless and diverse; But they are usually limited and satisfactory. " As far as the whole society is concerned, due to the diversity of class, rank, status, resources and power, the pursuit of diversity has formed. There are great differences in form and essence between various social pursuits and between them and possible pursuits, forming an overall pursuit structure with large internal space and many modes. At present, many similar people are confused. They also keep looking for their dreams and trying various methods, but they can't find a way out. This is actually a stage of finding yourself or looking for an unfulfilled performance. Lao Wang walked on. He made a lot of efforts to pursue his dream, but he failed to escape his fate! How many people, especially the grassroots, strive to be different people, struggling to find themselves for freedom, looking for someone with a soul to talk to in order to break through the heavy spiritual barriers, and struggling on the complicated and lengthy road of life.

The novel "One sentence is worth 10,000 sentences" is divided into two parts, and the author's subtitles are "Starring in Gold" and "Returning to Yanjin". From the deep meaning, we can think that the first part of "leaving Tianjin" not only refers to leaving this land, but also refers to going to the more distant kingdom of God. The author cut off all the ways that Yang Baishun could find a bosom friend from his earthly life, just to let him embark on a road of converting to God and handing himself over to God. Leaving Yanjin means leaving this world, going to heaven to find a bosom friend, and becoming bosom friends with God. The death of Lao Wang's daughter Deng Zhan and the loss of Yang Baishun's stepdaughter Bridgette are inevitable. The author deliberately weakens the possibility of finding a bosom friend in blood relationship and life experience, and places his hopes in a distant paradise. In the second half of Back to Yanjin, Bridgette's son returned to Yanjin, and the path taken by his ancestors was inadvertently stepped on by his descendants. No one can escape the drive of fate and the power of reincarnation. Corresponding to the first "Going out to Yanjin", the second "Back to Yanjin" is by no means a return in a purely geographical sense, which not only symbolizes the reincarnation of life, but also symbolizes the return from heaven to earth. Finally, the author left the hope of the person who found that "one sentence is worth ten thousand sentences" to the world.

On the surface, Chu and Hui mainly talk about the history of Yang Baishun and Niu, but as long as we chew and recall carefully, we will understand that they are actually talking about lonely history. "Loneliness" is passed down from generation to generation, and the story of ancestors is repeated in the younger generation, and the "loneliness" of ancestors is also continued in the younger generation. Character image building

One sentence is worth 10 thousand words, which is the successful embellishment and shaping of some characters. For the two main characters in the novel, Yang Baishun and Niu, we have actually involved them in the previous analysis. The writer's portrayal of them is naturally successful and can leave a deep impression on readers. What deserves our attention is that, in addition to the main characters, Liu Zhenyun can also use a little pen and ink to make the characters alive for some minor characters who appear in his works, leaving an indelible impression on readers. For example, Zhang Chuhong, although the writer doesn't use many pens, what appears in his works is nothing more than her love for cows and the process of her decisive breakup with her husband Kun Li, all of which are relayed by others. However, the image of a young woman who is passionate, dare to love and hate, and do things neatly stands out. For another example, Lao Yang, who sells tofu at the beginning of the novel, has long since dropped out of readers' reading field of vision, while Liu Zhenyun vividly depicts a short-sighted peasant image who is always indecisive, short-sighted and short-sighted by describing the relationship between his sons and the so-called "old friend" Ma Lao. Other characters in the novel, such as Lao Zhan, Wu Xiangxiang, Lao Gao, Pang Lina, Cao, etc. It also left an unforgettable impression on readers. The successful creation of these characters not only fully reflects Liu Zhenyun's careful grasp of the complex and delicate human world in rural areas, but also reflects the writer's profound artistic skill.

Narrative mode

"One sentence is worth 10,000 sentences" adopts the narrative method of parody, and leads to another clue from one clue, and each clue gives you one. For example, the novel begins with the relationship between Yang Baishun's father and the old horse driving the cart, and tells the story of the blacksmith Lao Li in the town. In the story derived from this, we also talked about the entanglement between Lao Li and his mother. The length of the story is just to make it clear that Lao Yang, who sells tofu, and the old horse who drives the car "don't care", or "Lao Yang and the old horse don't care". If you keep winding like this, you will hit your destiny head-on. "One sentence is worth ten thousand sentences" is fatalism, and its narrative also follows the theory of "causal cycle". Everything has its own roots, and each character has its own context. This is a typical narrative mode of China's novels about the world. Things in the world, "Everything has a story, and in every story, there are several turning points."

Narrative methodology: The whole novel is divided into two parts: leaving and returning, which is both the structure of the novel and the way to know the world. The content of the novel is also around this structure, with more or less, words or not, and emptiness and reality. Lao Pei, who shaved his head, saved Yang Baishun on the way to kill his mother's brother, while Yang Baishun saved Lai on the way to kill the old driver's horse, so killing and saving came together. The controversial "one sentence" and "ten thousand sentences" meet as opposites. They suspect, entangle and rub against each other constantly. In the popular words, it was a "worldwide encounter". Things always meet us in a rebellious way. On the one hand, persistence, on the other hand, persistence, leaving means returning, memory means forgetting, and only mutual torture can remind us of everything we are alive.

technique of expression

"One sentence is worth 10,000 sentences" has a unique expression. According to Bai Ye's "Words Flowing" novels, Liu Zhenyun writes in a way of "spurting empty space", which is similar to the dragon gate array in Sichuan and flows like a river. This was praised by Li Jingze as "reading one sentence is worth 10,000 sentences, and always thinking about the water margin". For thousands of years, China people have been running like this, and this vision is the' national style' of China's novels. It should be said that these two expressions of Liu Zhenyun are actually necessary ways to find friends, one is to find words, and the other is to find someone. Gossip may resonate, meet a group of people, and then meet a group of people who may find a congenial relationship. This kind of expression not only effectively increases the heaviness of the work, but also sticks to the center, expressing the unspeakable spiritual loneliness of China people in such a cramped and chaotic communication after crossing reality and history and melting urban and rural areas. This is a social arrangement, which seems to attach importance to family, friendship and even national feelings, but in fact it is the loneliness of the soul, and it is to carefully find a bosom friend in order to get rid of loneliness.

Narrative language and narrative logic

Novels are also challenging the limits of narration in narrative language. The narrative language of the novel is also repeated. The most repeated narrative mode is that the appearance of this character (event) is not due to a single reason, because there are more meanings behind this reason, so that there are layers of meanings ... It can be said that the language style of the whole novel is constantly extending forward in this delayed signifier cycle, thus expressing the difficulty and complexity of character communication in language form. The characters' hearts are as thin as capillaries and as sensitive as the central nervous system. They can't communicate from one sentence to 10,000 sentences, or even 10,000 sentences, but paradoxically, they are getting farther and farther away from communication. People can't find a word to communicate, but they can find 10 thousand words that don't communicate. Corresponding to the constant repetition of narrative language, the narrative logic of the novel is also constantly repeating. This repetitive narrative logic is to constantly make excuses for your various behaviors in your mind. This can be said to be a different kind of spiritual victory method of Ah Q in Lu Xun's works. Sliding in the endless language cycle under the traction of other reasons, even the reasons behind it, the logic of sliding is consistent, and I will always be the one who has mastered the truth. I can find all kinds of logic to prove my legitimacy, although sometimes this logic looks funny. When a funny logic appears as a "mask" of truth, it reveals inner loneliness. I used a funny logic to build a lonely four-sided screen, blocking the outside world, and finally my own "mask" to face myself and people, things and their relationships, but I didn't know it when I was wearing a mask. The number of characters in this novel is huge, the relationship between characters is complex, the story is vivid, the characters are small in front of the torrent of time, the background of fate is dark, and the heart is desolate. The huge number of characters is not warm but lonely, because the adjective huge is limited to the viewer's perspective. The real living person is an individual. They are particularly lonely because they can't open each other's hearts, or because they lack some common beliefs, they can't form a whole. Whether Yang Baishun and Niu finally got on the train and went to a distant place, or Lao Lu and Lao Zeng stayed where they were and were content with their fate, they were all driven by fate, and they were looking for someone to talk to all their lives.

The novel adopts the traditional narrative structure and natural narrative language similar to the water margin, and narrates and explains the lives of all kinds of people from ordinary people to local officials in turn, showing the living conditions of floating population from many angles and shaping a group of embarrassed and lonely people. Especially in the first half of Away from Yanjin, besides the experience of the protagonist Yang Baishun, a lot of pen and ink are used to write the ordinary lives of various little people. Some of these characters are parents and bosses with considerable status, but most of them are grassroots people from humble origins, engaged in some low-level businesses, such as selling vinegar, tofu, working overtime, striking iron, shaving their heads, teaching, killing pigs, dyeing cloth, fortune telling, mourning, chopping bamboo, cotton, driving cars, playing silverware, burning boilers and so on. The names of the characters in this novel are also quite clever. Only the protagonist and a few characters are famous and have surnames. The surnames of other characters are all preceded by the word "Lao", and surnames are hardly repeated. Thus, the universality of "loneliness" is clearly presented.

With rehearsed sentences and simple plots, the work well describes a series of interrelated needs of the people at the bottom of China society: they live in a noisy society with little personal space, regard their acceptance and social requirements as their own behavior standards, and strive to seek social recognition; The way they escape loneliness is to find another person to say "one sentence" of "top 10 thousand sentences", which is a mental problem that all of them have been struggling with; However, in the process of searching for their dreams, we can see that they also have various life pursuits and value yearning for soul freedom, but these are just a bright color among their social hooligans. We should pay attention to the main trend of the spiritual state of the bottom people in contemporary China.