What is looking back? What is the goal in the masterpiece?

The direct source of "Uighur" can be traced back to the Song and Yuan Dynasties. Among several kinds of story books in Song and Yuan Dynasties, one is called story book, and its basic feature is its long length. When telling these stories, artists can't finish them in one or two units, so they have to tell them day by day, invisibly dividing these long stories into dozens or even hundreds of paragraphs. In order to make it easier for storytellers to tell and listen to readers' memories, and to make some wonderful fragments more eye-catching, these scripts are often segmented according to the content of the story when they are published. This way of setting the purpose in segments is the prototype of regression purpose.

There are about ten kinds of books about history in Song and Yuan Dynasties, and there are two ways to set up the books in sections: one is the above picture, and the other is the below picture. For example, in the Yuan Dynasty, the picture in the upper column of all-phase Pinghua has a title on each page, and the words in the lower column are also marked with "Yin" in black, which obscures the "Yang" in the relevant places. For example, in the Three Kingdoms Pinghua of the five Pinghua, there are three wars of Lu Bu, stabbing Yan Liang, three visits to Zhuge, Zhao Yun holding Pu Zi, Zhang Fei refusing to break the bridge, Huang Zhong beheading Xia, Zhuge Qi capturing Meng Huo, and strategist Liu Chushan. There are also dozens of such inscriptions in Tuqiping dialect of Le Yi, such as "Mencius to Qi" and "Yan Guo Li". Another situation is that there is a table of contents at the beginning of the book. For example, there are ***293 directories at the beginning of the book The Legacy of Xuanhe, ranging from "Kings of Past Dynasties Out of Harmony" to "Lin 'an, the capital of Qin Gui". Another example is Dong Kang's version of Shi Pinghua in the Five Dynasties, which is the shadow version of the Song Dynasty. Except for the lack of the catalogue of Liang Shiping's Dialect, the other four books all have titles. Hua has 107 directories from On the Story of Shatuo to Abolishing the Emperor and Self-immolation, Jinshi has 62 directories from Respecting the Sixteen Countries of Qidan to Returning Qidan to Home, and there are 62 directories from Liu Zhiyuan Benshatuo's Subordinate.

Generally speaking, the above two situations will not happen again. In other words, the theme of Yin Wen is only marked with the text, and there is no table of contents at the beginning of the book; On the other hand, if there is a table of contents at the beginning of the book, there is no "negative" to cover the "positive" title in the text. However, in any case, these two "courses" are the origins of "course retrogression" in Zhang Hui's later novels, which we can call "quasi-course retrogression".

In addition to the original stories of Song and Yuan Dynasties, the rectification of Yuan Zaju also greatly influenced the formation of Zhang Hui's novel Looking Back. The above Chinese titles or titles are irregular simple sentences, which only indicate the outline of the story, not "beautifully written". However, due to the influence of parallel prose and metrical poems, the titles of Yuan Zaju are all antithetical sentences, which are forceful and catchy to read. For example, the title of the Yuan version of "Watching Money Slaves Buy Enemy Creditors" is well-deserved: "The dutiful son of the Han Dynasty obeyed, watching money slaves buy enemy creditors." Another example is the title of the Yuan edition of "Three Cai Jia Tian Give Raul": "The main wife follows her husband's parents and lives in Europe to worship her ancestors and make furniture; It refers to the Jedi's death to persuade spoiled women to spread their wealth and give gifts to old children. " Whether it's two sentences or four sentences, it's all "beautiful" In addition, there are Yuan books such as Weichi Gong's Three Questions, Ying Bu, Ziyunge, Gongsun's Mao Yi, Xue's Return to the Native, the story when it was revealed to the public, Huo Guang's Ghost remonstration, Qilitan and Duke of Zhou. Of course, there are also a few people who are not very stable in confrontation. For example, the title of the meta-edition "Deceiving Nizi to Tune the Moon" is well-founded: "Double warblers and swallows secretly fight for spring, deceiving Nizi to tune the moon." For example, the title of the Yuan version of "Good Wine Zhao Yuan Meets the Emperor" is well-founded: "The mother-in-law deceives others too much, and the company supplements the red according to the situation; Give charcoal in the snow, avenge, and drink good wine, Zhao Yu, Emperor An Ying. " However, in any case, the proper names of these topics are always much better than the inscriptions in the Song and Yuan Dynasties or the catalogue at the beginning of the book. These titles are correct for the stability of the war and have a great influence on Zhang Hui's novels.

Second, the evolution of "Uighur"

Today, we can't actually tell what Zhang Hui's earliest novels look like. This is mainly because it is generally believed in academic circles that Zhang Hui's earliest novels, such as The Romance of the Three Kingdoms, The Water Margin, The Legend of Three Spices and the Romance of the Tang and Five Dynasties, have no editions in the late Yuan Dynasty and the early Ming Dynasty. As far as we know, they were first published in Hongzhi, Zhengde, Jiajing and Wanli years. Therefore, we can't know what their original "return" is like. Even in the mid-Ming Dynasty, the existing texts of the above-mentioned novels are still preserved to this day, but the writing level of "Uighur" embodied in them is extremely uneven. The popular Romance of the Three Kingdoms and the Romance of the History of the Tang and Five Dynasties are both single-sentence target questions, just simple combinations of names, places and events. They are very practical, but very rough. "The Legend of Three Spices of the Demon" is an even sentence, but most of the two sentences are not antithetical sentences. For example, in the seventh time, "Bajiaojing Buji meets a nun to offer a golden tripod with Buji Mifu", and in the thirteenth time, "Yong Er sells clay candles to lure the king, and the nun teaches the king to rebel". This kind of "looking back" doesn't even have basic common sense, which is very childish and ridiculous. As for the title of Water Margin, it is very special. Not only do you use even sentences every time, but every title is stable, even and harmonious. Such a beautiful retrospect, not to mention not appearing in the above works, even Zhang Hui's novels in the middle and late Ming Dynasty may not all reach such a high level. For example, Jin Ping Mei Hua Ci, a Wanli version that must have appeared after the Water Margin, is as messy as the biography of Sansui Pingyao, and even the words of the upper and lower sentences are uneven. For example, when he opened the book for the first time, he looked back and saw that "Jingyanggang Wusong killed the tiger, and Pan Jinlian suspected that his husband was selling romantic affairs", which was really "seven ups and eight downs" and was greatly asymmetrical.

According to the above situation, we can't simply think that the evolution of the purpose of Zhang Hui's early novels is along the road of "single sentence as the purpose"-"asymmetric even sentence as the purpose"-"exquisite antithesis as the purpose", but only show that the purpose of Zhang Hui's novels is different from the early Ming Dynasty to the middle Ming Dynasty. This is the conclusion based on the evidence provided by the existing text. But there are three points that must be explained: First, before the middle of the Ming Dynasty, the retrospection of Zhang Hui's novels was always in every retrospection. Secondly, its main function is narrative, that is, to summarize the story outline of a book in the most concise language. Third, its basic format is to add names, places and events. In short, they are very simple, even if they are as beautiful as the Water Margin, they are simple and exquisite. At this time, the title of Zhang Hui's novels is basically an objective "narrative", which does not reflect the author's subjective feelings, and even less "description".

At the end of Ming Dynasty and the beginning of Qing Dynasty, with the arrival of the climax of Zhang Hui's novel creation, his return was also a novelty, and he pursued formal beauty more and more, and even appeared the tendency of "aestheticism". Going to extremes becomes a word game. When writing a reply, the author of the novel pays attention not only to its practicality (summarizing the content of the story), but also to its artistry and interest, which is manifested in lyricism, situation, humor, irony, philosophy and so on, so that readers have a strong interest in reading the reply before reading the text. These novels break the routine of simple narration and are fresh and interesting. Generally speaking, there are the following situations.

First, lyric. For example, the fifth glance of "Spring Willow Warbler" reads: "My husband is ashamed to recognize the plum blossom fan, and Hanlin reads Liu Yang's ci with tears in his eyes." A "shame" and a "tear" are strongly emotional. Another example is the nineteenth time in A Dream of Red Mansions: "The feeling is anxious and the night is bright, the meaning is quiet and the fragrance is fragrant." In the 98 th chapter of the same book, I said, "The soul of bitter crimson pearls is far from hating the sky, and it makes me cry and miss the land." Looking back like this can not only reflect the subjective feelings of the characters or authors in the book, but also closely link these feelings with the narrative, just like a poem with a particularly strong lyrical color, which can bring people into a specific realm. Therefore, they are works of art in themselves, and they are "beautiful works" in the true sense.

Second, the scene. Writing the scenery behind the eyes creates a wonderful scene of blending scenes, thus serving the novel content, which is also the proud pen of some novelists in the late Ming and early Qing Dynasties. For example, the eighth time in "Paradise on Earth" said: "Clouds break through the moon to make a flower shadow, and Lei Zhen became famous in late spring." For example, in the forty-ninth chapter of A Dream of Red Mansions, it was written: "The glazed world is full of white snow and red plums, and the pink-scented baby cuts the fishy smell." Some of these reminiscences consciously use the beautiful scenery of nature such as clouds, moons, flowers, shadows, snow and plums to serve the characters and stories in the book, which makes people seem to see one beautiful picture after another when reading novels and gain pleasing artistic enjoyment.

Third, humor. Through humorous language, a humorous effect is created, and some novelists in the late Ming and early Qing dynasties have the ability to win by surprise in this respect. For example, the fifth chapter of Lotus Dream: "Ruthless struggle is like infatuation", and the sixth chapter: "Affection is heartless and annoyed". These sentences from ancient poems give people a special sense of humor. Another example is Lin's ninth reply: "Smart matchmakers are anxious to marry new people." With sentences full of abnormal life, it has played a teasing effect and mocked the matchmaker who tried new media many times in the book.

Fourth, irony. On the premise of humor, we can further satirize the falsehood, ugliness and evil in society, and this effect can also be achieved in a few characters, which really makes us sit up and take notice of these authors. For example, the fifth time in "Ping Shan Han Yan" wrote: "The mountain man's face turns when he touches it." Another example is "The Scholars", the third reply: "The killing of butcher Hu is good news". The former uses the most economical pen and ink to outline the ugly face of the changeable "mountain man", while the latter unifies the irreconcilable contradiction of "killing" and "reporting good news" on butcher Hu, making people see his ugly figure and tone.

Fifth, philosophy. Looking back a little, sometimes we can even see some philosophies contained in life. From the author's casual words, readers can appreciate the thousands of words hidden behind them. The fifteenth newspaper of "Spring Garden" wrote: "The official will burn the poor and keep the righteousness, and watch and wake up alone." It is a philosophy that the authorities are fascinated and the bystanders are clear; Poverty is valuable, but from the right, it is a life full of infinite vitality and flexibility, which is another layer of philosophy. Another example is the ninth time in Jade Finger Collection: "If you don't want to catch a bird, Lot will catch it all, but if you want to fish, you can't catch both." It is a philosophy to plant flowers intentionally without sending them, but not to nurture the willows into shade; Single-minded, eventually rewarded, wandering around, with a bad ending, is another layer of philosophy. Here, the combination of written expression, spiritual wisdom and life experience has become a wonderful performance of warning strategy.

Sixth, kit kat. The authors of some Zhanghui novels in the late Ming and early Qing Dynasties, out of curiosity about their intentions, showed off their skills and created some interesting games on the issue of retrospection. For example, the second glance of "chinese odyssey" reads: "Affectionate white face, dry white red drunk; Buying gold at a low price, Jin Shouxi floats and sinks in the sea. " Not only wrote the name and story, but also skillfully used the embedding method. Another example is Lin's fourteenth time: "You walk for me, I run for you, and the companions are not companions;" Whoever he calls, who calls him, hurry, follow. " Although more than a dozen words, it is catchy to read. There is also the eighth time of "Fixed Lovers": "Crazy children are crazy and fierce, and recognize big sister do miss; The bachelor is wonderful, and there are a lot of people below. " It is really unique to have an extraordinary combination of embedded words and antonyms. Of course, if you go too far, you will be suspected of playing word games, but this skill of showing off just shows that the author attaches importance to the purpose of regression and pursues the exquisite purpose of regression.

If it is explained that the aim of Zhang Hui's novels in the late Qing Dynasty is to pursue exquisite artistic effects on the basis of narration, then the aim of novels after the middle Qing Dynasty has developed towards "exquisiteness" and "practicality".

One tendency is to let antithesis serve the purpose, and the longer it is drawn, the more it pursues formal beauty. The authors do their best, as if determined to make it into a form with special significance. For example, the twenty-fifth chapter of "Talented Man" wrote: "Strong harmonious flowers and candles, water palace is like a bird cage; Immediately called, Zhan Bing Department can't stay in the sky. " Another example is the twenty-eighth time in the book: "The three armies returned home in triumph, with martial arts and literary talent; As soon as it hits the sky, loyal ministers and traitors will stand up to each other. " Although the use of function words between the upper and lower sentences is repeated, each sentence is full of charm with 13 words. The book "Free Marriage" has a title of fifteen words, such as the fifteenth time: "A magnificent song, watching the footsteps stop, is ashamed to kill all the men in the world; The Third Xia holds hands, wishing to hide the sail and avoid his evil sea and wild waves. " Looking back on some novels in the late Qing Dynasty, not only each sentence is more than ten words long, but also the tone is harmonious and poetic. For example, the rare book "Evil Sea Flower" belongs to item 35: "Yan spends money, but Hao Gongzi dies unintentionally; The old hero sent a lonely minister. " Another example is the fifth time in "Away from Hating the Heaven": "You are imprisoned in a secluded room, and a sad song is written in your mind; I met you in the middle of the night and they talked a lot of tears. " In addition, there is also cynicism in the novels at this time. For example, the fifth time in "Anecdotes of Blind Cheating" wrote: "At the end of my rope, Hong still wants to make up his heart; Drinking gourd, Zhao Guisen tries pigs first. " Others are ironic and have the meaning of word games. For example, the eighteenth time in bad karma Society: "Vaccinate, the boss has the right to be a child; Sprinkling water and sprinkling water is beautiful. " Of course, this method of lengthening and making the reply interesting is mainly based on the novels of the late Ming and early Qing dynasties, especially some novels of talented people and beautiful women, which are far from being changed, but more extreme.

What really changed the face of Zhang Hui's novels was a regression tendency from complexity to simplicity and from interest to practicality in some novels in the late Qing Dynasty. For example, the book "The Fate of Imprisonment" has been written for * * * eight times, and the answers are as follows: "Human life is a matter of heaven, the cause of injustice, the strange poisoning, the influence of detectives, the reason of ancestral home, the attached photos, the strange case solving, and the design of a husband." At the same time, some writers simply adopt a more concise two-character title form, which is a bit like some legendary plays in Ming and Qing Dynasties, and also a bit like the way Jin Shengtan commented on The West Chamber or Zhang Zhupo commented on Jin Ping Mei. For example, the strange case of Yixing, the story of two altars, evil revenge, female students, a Fan Ying movie, a new unexpected fate, the ghost of revolution appearing in the sky, secret freedom, military romance cases, and official divorce cases are all the same. The word title is a very concise and practical way, but there are still some shortcomings, so some screenwriters simply adopt a more convenient approach and draw up a target topic completely according to the needs of the plot. There is no limit to the number of words and the length. It's pure simple sentences and prose. The longest can reach more than a dozen crosses, and the shortest is only one word, which makes the writing of the purpose return to an extremely free position. For example, thirty copies of new journey to the west used the word "laugh" for the fourth time and "steal" for the 22nd time, which really saved the world. In addition, such works as Liu, Fei Guai, Biography of the New Idiot, Su Jian, Secret History of the Near Woman, Biography of Wu Shuqing, Biography of Yi Xia, etc. are all single-line essays with free length. More interestingly, the book "Baiyun Tower" not only has a title, such as the third: "Tower" and the twenty-third: "Fire", but also has a novel practice of putting two opposing things in one title, such as the fortieth: "Red"; Green ",forty-third:" cold; Very sexy. "This is really unique and refreshing. There is also the book "Five Days of Destiny", and the answer to the target question is even different. For example, the second chapter: "A friendship between lovers." Chapter 4: "Let the microwave carry the message." Chapter 10: "Duh! The magic of beautiful things. Chapter 12: "Is that all?" Chapter 13: "Alas, go to great events." Chapter 16: "Poverty is a bolt from the blue." Chapter 18: "Born apart? Don't die? "A large number of exclamations and interrogative sentences with function words in classical Chinese are listed as titles, and foreign words are also included. It can be said that the combination of ancient and modern, native, wearing a suit, wearing a melon seed hat, people like eating strange beans, its taste is endless. Of course, some works simply borrow sentences and images from ancient poems and songs, which makes the reply of one-sentence prose full of feelings. For example, there are ten chapters in Yuanyang Monument, which are: I crouch in a trap, I find it hard to be around, I want to go loudly, who can I tell about a thousand kinds of lovesickness, there is no medicine for lovesickness, I don't write tears first, and all shall be well, jack shall have Jill. Looking back on it, it really looks like a small collection of The West Chamber. In a word, the review of Zhang Hui's novels developed to the end of the Qing Dynasty, and there was a new situation of letting a hundred flowers blossom and competing for beauty.

Thirdly, the cultural implication of the novel Looking Back.

To sum up, the theme of homing in China's ancient Zhang Hui novels has generally gone through a process of development and evolution from coarse to fine to simple to pluralistic, and the rich cultural implications embodied in this process are particularly worthy of our attention.

Most of the historical stories we mentioned above were published in the Jin, Yuan and Ming Dynasties. As for the History of the New Five Dynasties, "researchers believe that this book should be published in the north before the demise of the Jin Dynasty". (See Jiangsu Ancient Books Publishing House (1993 edition) for Cheng Yizhong's Preface to the History of the New Five Dynasties. Three Kingdoms Pinghua and Le Yi Tuqi Pinghua were published in the Yuan Dynasty (132 1-. Xuanhe's posthumous work is Amin edition. As far as the publishing time is concerned, historical story books in Song and Yuan Dynasties are basically synchronized with Yuan Zaju. There can't be a gold version of Yuan Zaju, but there are many versions between Yuan and Ming Dynasties. However, the publishing effects of these two brotherly art forms are quite different. Especially, comparing the "quasi-topic" of Song and Yuan Zaju, we can find that the artistic level of the former is lower than that of the latter, and the development speed is slower than that of the latter. The root cause of this situation is mainly due to the different identities and mentality of its founders. Generally speaking, both the Song and Yuan scripts and Yuan Zaju were written by "talented people from book clubs", but there were also some "celebrities and talented people" among the authors of Yuan Zaju, and some of them were off-duty or on-the-job court officials. As Ghost Record said: "Senior officials, ministers and people in important positions on the right are all highly educated people with the same name, and they are also particular in Yuefu." Of course, these "predecessors are famous all over the world, and Yuefu goes all over the world", mainly writing Sanqu instead of Zaju, but even among Yuan Zaju writers, many of them have titles. For example, Yu Jifu was the judge of Zhongshan Prefecture, Ma Zhiyuan was the judge of Jiangsu and Zhejiang Provinces, Li was the judge of Ruichang County, Zhao Tianxi was the judge of Zhenjiang Prefecture, and even Guan Hanqing was considered to be the judge of Taiyuan. The author of the Song and Yuan scripts will probably be "anonymous" forever. Because the script is "the base of the speaker", the author of the script is actually the speaker, such as Huo Siji and Yin Changmai. They have nothing to do with "celebrities". They can only be "reading club talents" living in the lower class, and some can even be "storytellers". Moreover, "Shuo" was only an art form that appealed to hearing at that time. The storybooks based on "Shuo" were not sold to readers in large quantities, nor were they posted to the audience as "posters" like the "Rectification" of Yuan Zaju today. Therefore, the production of "quasi-complex" has not reached the point where authors, publishers and readers all pursue "beautiful writing", which is the fundamental reason why the theme of Yuan zaju is relatively neat and the historical manuscript of Song and Yuan Dynasties is relatively rough. In the final analysis, the difference between them is determined by their different commercial functions and market demands.

In the middle and early Ming Dynasty, the return of Zhang Hui's novels appeared uneven, which was mainly caused by the author's different social status and cultural literacy. At this time, Zhang Hui's novels are in the transition period from long-term accumulation of folk to collation and processing of literati. Some novels are more remnants of folk popular literature and art, so they are rough, aiming at single sentences, and even an even sentence is not antithetical. On the other hand, some novels, because the literati get their hands on them, are not only aimed at the words occasionally, but even the works are stable and the words are proper. In such a period when people's creation and literati's creation coexist, chaos is inevitable. However, there are two points that can't be ignored: First, it is undoubtedly a great progress to put all the "negative" titles or book titles in the text of the Song and Yuan scripts in every look back and become a real "look back". Secondly, changing from simple sentences to even sentences is a greater progress. More importantly, these two advances have unconsciously improved readers' appreciation of novels (including returning to the goal). People should not only read wonderful stories, but also look back at them. Similarly, readers' requirements for returning to beautiful texts are getting higher and higher, which in turn stimulates the novel author to pay attention to the artistry of returning to the purpose. Not only Zhang Hui's novels, but also fictional novels. When Feng Menglong compiled Sanyan, he made a meaningful treatment: two unrelated stories, just because they were adjacent, made up two antithetical sentences for them, which made people read fluently. For example, "Qian Xiucai mistakenly occupied the Phoenix, and Joe was a troublemaker"; "Zhang Gugu grows melons to marry women, and Li Gongzi is satisfied with saving snakes" and so on. Where's Ling? When I first wrote Erpai, I simply imitated Zhang Hui's novels for every story, aiming at creating an even sentence, which was extremely neat. This kind of catering to readers is also a performance driven by economic interests.

In the late Ming and early Qing Dynasties, Zhang Hui's novels became more and more exquisite, which was different from that in the middle of Ming Dynasty. It is not mainly influenced by the interests of market economy, but embodies a kind of spiritual or intellectual sustenance of literati, especially those who can't aspire to it. This subtle reply often appears in the novels of talented people and beautiful women or novels created by pure literati such as The Scholars and A Dream of Red Mansions, which is enough to illustrate this point. The Tibetan master of smallpox made it very clear in the preface to the cold swallow in Pingshan: "If you get the blessing of the Tao, you can't feather the Yilang Temple into a forest of phoenix, but you can also poetize the rivers and lakes and turn flowers into willows." "I have to borrow teacher Wu to vent my career." Cao Xueqin also said: "The paper is full of absurd words, a bitter tear, and the author of Dou Yun is crazy. Who can understand the taste! " This kind of psychological performance is very obvious. Comparatively speaking, these authors pay more attention to ideological sustenance and talent display than economic income, and some even don't consider economic income at all. This is also a cultural character, an elegant and refined cultural character of China traditional literati. In the late Qing Dynasty, some Zhang Hui novels became longer and more skillful, which is also the ultimate performance of this kind of literati pursuit.

As for some Zhang Hui novels in the late Qing Dynasty, the change of title from exquisite to simple and single-sentence purpose is not a simple return to early Zhang Hui novels, but a higher-level expression of negation of negation. Although most of Zhang Hui's early novels are single sentences, they are scattered and chaotic, which is only the minimum requirement. It is enough to summarize the main points of a story without paying attention to the artistry of return. However, although some novels in the late Qing Dynasty did not pursue "exquisiteness", they still maintained the overall consistency, and at the same time embodied an aesthetic interest of rejecting triviality and pursuing simplicity. This aesthetic pursuit is just a counter-attack to the practice of exposing the literati's talents to the extreme and writing the reply as "beautiful" and "long", and finally forms a colorful and diversified reply structure. Of course, just like the overall creation of novels in the late Qing Dynasty, the change of the creation purpose of novels in the late Qing Dynasty is bound to be influenced by foreign cultures, especially western novels. When China's traditional popular literature form-the most conspicuous one of Zhang Hui's novels-is combined with the western novel form, it will radiate new brilliance in the new historical period, and it also means that a new novel heading way is coming soon.