"Oh, Fragrant Snow" was selected for the middle school textbook
This is a work that wins with ingenious intentions, and perhaps in the context of the political and class nature of the Cultural Revolution, it does not lose a novel with new ideas. However, if you analyze this famous work of Tie Ning in the background of the brilliant stars of contemporary literature, you will find that it is really not enough to be selected for the glory of being selected as a middle school Language textbook.
On the whole, the storyline of "Oh, Fragrant Snow" is bland (although the prose culture that pursues the plot can be regarded as the intentional pursuit of the writer, its achievements in prose culture are really pitiful), the character image appears vague because it comes from ideas rather than from life, the language of the characters is trivial and empty, and the narrative language seems novel and ingenious, but it is in vain and has no charm.
First, let's look at the plot.
The main storyline of the novel is that a mountain girl named Xiangxue missed getting off the train because she changed pencil boxes, causing her to walk thirty miles of mountain road. Here, the automatic pencil case undoubtedly has symbolic significance, in order to illustrate this, the writer does not hesitate to use nearly a thousand words to explain the significance of the pencil box to Xiangxue, and the full text of the novel is only seven or eight thousand words. In the writer's interlude, Xiangxue is ridiculed for being poor, so will having a pencil case win her self-esteem, or will it solve the problem of poverty? It can be seen that from the perspective of authenticity, although the writer can explain the importance of the pencil case to Xiangxue, he really cannot prove that there is a nobler motive for owning this pencil box.
But the writer wants to use this stationery box to express a conclusion that was set before she wrote: this pencil box has great symbolic significance. In order to render this, the previous text of the novel is all a foreshadowing for the plot of the change of pen box. These preparations include the closure and backwardness of Taiergou and the changes in mountain village girls represented by Xiangxue after the arrival of the train. But how many of these foreshadowings are not motivated by the writer's imagination? In order to render the backwardness of Taiergou, the girls actually called the electric fan a large blade, and the people of Taiergou did not even know that the people in the city had three meals a day, which was a bit exaggerated: Could it be Taiergou or a prehistoric village? How can such false information arouse the trust of readers? How can a work that has lost the trust of its readers achieve its educational and solidarity function?
From the logical point of view of the plot of the novel, the girls who came to the train bartered with the passengers on the train, and it was precisely because of this transaction that there would be an action of Xiangxue changing the pencil box later. But if it's just a pencil case, the writer loses the reason to let Xiangxue get on the train and be pulled away by the train. In order to be able to arrange for Xiangxue to get on the train and be pulled away by the train, the writer then explains:
"It's like complaining about the cold in Taiergou." Today, it shows a rare indifference to Taiergou: the windows are all closed, passengers drink tea and read newspapers in the dusk light, and no one glances out the window. Those who are familiar with this line and run this line seem to have forgotten the girl in Taiergou. ”
But what the writer did not expect was that if this reason was logical, then the behavior she had written about the passengers bartering with the girls before was meaningless: since the passengers could turn a blind eye to the girls in Taiergou at any time, what was the need to render the previous lively trading behavior?
Here, if the cold can be regarded as a reluctant reason, there may be a place that makes sense, but the question is, is the cold in Taiergou happening within a day? It can be seen that this reason is actually very pale and does not solve the problem of the reader's trust.
Second, the character image
Therefore, the seemingly strict plot is actually full of loopholes, not to mention that from the perspective of the whole text of the novel, the pencil box part is where the writer's efforts are, which should be the core content of the novel, which accounts for about one-third of the proportion of the whole text, while the previous foreshadowing part is used for two-thirds of the length. If the image of Xiangxue can be presented in the core part, this top-heavy space structure may not have any flaws, but what does the writer write in the core part?
The main content is only two psychological descriptions, which have since become the object of praise by many critics. Is this really the case?
The content of the two psychological descriptions is actually a commentary on the main theme of the writer's writing: the pencil box is a symbol of hope for the future, "this is a treasure box, whoever uses it, everything will go as expected, you can go to college, you can take the train around, you can ask for anything."
It is not to be said here whether mental activity strictly adheres to logic, because knowledge such as stream of consciousness and Freud seems to have been introduced to China in the mid-to-late 1980s, and our genius writers may not have heard of it when they wrote Xiangxue.
However, it is clear that Xiangxue, a living, simple, somewhat shy country girl, suddenly became so abominable: she was just a symbol of the writer's ideas.
It is said that some film and television celebrities made a movie called Xiangxue, and they can't think of where these artists who scored three hundred points in the college entrance examination even if they learned to get Xiangxue's information: even if they add up the content of the novel about Xiangxue, I am afraid that they will not be able to make up a face that can see the expression of the face. It's really hard for these film and television predators.
Third, the language of the characters
The language of the characters in the novel is generally used to portray the characters or advance the storyline, but in "Oh, Fragrant Snow", we will find that even deleting all the character dialogue does not affect the connection between the various parts.
As for the novel's function in portraying characters, I will only quote one of the passages here for you to enjoy:
"Who knows how many golden circles are pinned on the head?"
"Eight."
"Nine."
"Nope!"
"It is!"
"Fengjiao, where do you say?"
To be honest, I prefer to believe that my own junior high school students are also fully capable of writing better than this.
4. Narrative language
The language that many critics hail as poetry goes like this:
She found the moon so clear. The mountains were shrouded in moonlight, like the solemn, sacred breasts of a mother; the walnut leaves of a tree that had been dried by the autumn wind, rolled up like a golden bell of a tree, and for the first time she could hear them singing "openly" at night, at the instigation of the wind. ”
Is the moon light a pure poetic language? Maybe it may be for a junior high school student, but from the perspective of language expression, this is too empty. The breasts of the mountains like mothers are even more confusing. Only onomatopoeia that describe the sound of leaves can give the reader a real sense, but this is not poetry-like language at all.
There is also a metaphor that looks delicate at the beginning:
"It and its dozen or so villagers are single-mindedly hidden in the deep folds of the mountains."
It refers to the small mountain village of Taiergou. Therefore, the first half of the sentence is: More than a dozen villagers in Taiergou and Taiergou. It's an awkward thing to say. Why can't the writer simply say Taiergou instead of pretending to add a dozen of its villagers.
The word "wrinkles" can be described as a very delicate word, which really writes about the smallness of mountain villages and the continuous mountains. The problem is that it's not a beautiful word. Therefore, the shape seems to be more than enough, in fact, the charm is completely absent.
In the new version of the high school textbook, "Oh Fragrant Snow" uses ten pages. Each page was a dull, boring narrative, and I gritted my teeth and read it four or five times before reading the whole novel in order to attend class. To be honest, I sympathize with my bunch of kids who are alive and well. Worried that the experts would take the exam for the students of the president's masterpiece, I had to think carefully about where the theorists would torture the students. After barely combing through the teaching materials, I said to the students: Let's go and read Sun Li's "Lotus Flower Dian" and experience what is real poetry.
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