Background information of Chuanrui Kangcheng

Kawabata Yasunari 1899 was born in Sujiuzhuang, Fengchuan Village, Mishima Prefecture, Osaka Prefecture near Kyoto. Kang Cheng "takes the literature of Kyoto dynasty as the cradle, and also takes the natural green rhyme of Kyoto as the cradle to feed himself". Grandparents used to be a big family and were called "country aristocrats". After their career failed, they pinned their hopes on Kang Cheng's father, Rongji, who completed his studies at Tokyo Medical University, was listed as a doctor and concurrently served as the vice president of a hospital in Osaka. When Kang Cheng was one or two years old, his parents died of tuberculosis. Grandparents took Kang Cheng back to their hometown after fifteen years' absence, and my sister Fangzi was fostered in Qiu's uncle's house. Kang Cheng is very weak because of congenital deficiency. The two old people doted on their grandson too much, fearing that he would go out and get into trouble, and let him live in a damp farmhouse all day. The young orphan has little contact with the outside world, "turned into a stubborn and twisted person", "locked his timid heart in a small body, and felt depressed and distressed for it". Until elementary school, he "had no idea that there was another world besides his grandparents".

After Kang Cheng went to primary school, in less than three years, his grandmother and sister abandoned him one after another. Since then, he has lived alone with his elderly grandfather. Grandpa is blind and hard of hearing. He sits alone on his sickbed crying all day and often says to Kang Cheng, "We live by crying!" " ! This cast a lonely shadow on Kang Cheng's naive mind. Kang Cheng's orphan experience culminated in the loss of his grandfather.

For Kang Cheng, he went to the funerals of his relatives one after another and attended countless funerals. People jokingly called him "a celebrity attending a funeral". As a child, he couldn't feel the warmth of people asking questions. On the contrary, he is permeated with profound and insurmountable factors of melancholy and sadness, and his inner fantasy of life and fear of death are constantly emerging. This deformed family and lonely life are the important reasons for Kawabata Yasunari's relatively withdrawn and introverted personality and temperament. This prompted him to break into the forest early. He has borrowed all the books in the primary school library. At this time, he began to look forward to literature.

19 13, Yasunari Kawabata was promoted to Ritsumi Middle School in Osaka Prefecture, still immersed in literary books tirelessly, and began to get in touch with some famous books. He never stopped taking notes and recorded all the wonderful descriptions in his works in detail. His Chinese department and Chinese language and literature are the best, and his composition is second to none in his class. 19 14 in may, when my grandfather was seriously ill, he waited beside his sickbed, reading the sad words in the Tale of Genji, in order to drive himself away, indulge in sadness, and determined to record his grandfather's dying scene, so he wrote the Sixteen-year-old Diary. This "Diary of Sixteen" is not only a sketch of Kang Cheng's painful reality, but also a poetic sentiment infiltrated in the cold reality, and it also reveals the clue of Kang Cheng's creative talent. In autumn, he bound the poems he had written in the past into volumes, which were called "The First Valley Hall Collection" and "The Second Valley Hall Collection". The former mainly includes 32 poems of his new style, while the latter is a composition for primary and secondary schools. It can be seen that Kang Cheng, a teenager, has begun to have the consciousness of scholars and sprouted his initial desire to write.

At this time, Kawabata Yasunari decided to be a novelist and began to send some sentences and short stories to publications, which were not adopted at first.

It was not until the summer of 19 15 that several of his haiku poems were published in Article World. Since then, he has more extensively dabbled in the world and Japan's ancient and modern masterpieces. Although he didn't understand the meaning of Tale of Genji, he only read the pronunciation and appreciated the beautiful lyrical tone of the article, but he was deeply attracted by its style and rhythm. This experience had a profound influence on his later literary creation. Later, when he was writing, the song-like melody of his youth still echoed in his heart.

19 16, four or five harmony songs and nine essays were published for the first time in Tsukimu tabloid "Kyosaka News", and in the same year, a teacher's coffin was published in Osaka's "Chaos" magazine. This year, he often wrote essays and essays, that is, mini-novels, for Article World. Article World held a poll to elect "Twelve Scholars", and Yasunari Kawabata ranked 1 1. This is a memorable year for teenagers who are determined to become writers.

In March 2007, after graduating from Cimu Middle School, Chuancheng entered this top-ranked institution of higher learning and arrived in Tokyo, where he began to have direct contact with the current situation of Japanese literary world. The writers and works of "Birch School" and "trendy school" and popular Russian literature opened his eyes. He published his first exercise, Chiyo, in the June issue of the magazine of the Middle School Alumni Association (19 19), and described his love story with three Chiyo girls with the same name with faint strokes.

In fact, after Kawabata Yasunari became an adult, he came into contact with four women named Chiyo in succession and had feelings for them to varying degrees. Among them, Chiyo, a dancer from Izu, and Chiyo, a dancer from Gifu, caused great emotional waves.

Chiyoyo Izu dancers met when they traveled to Izu Peninsula after Kawabata Yasunari entered high school. He was treated equally by dancers for the first time and said that he was a good man, so he had a pure friendship with her. Similarly, dancers who are discriminated against and humiliated will naturally arouse emotional ripples when they meet such friendly classmates and treat themselves equally. They established a sincere and frank friendship with each other, and they also showed a little love for each other. Since then, this beautiful dancer, "like the tail of a comet, has been flashing in my memory."

Chiyo Chiyo, formerly known as Chiyo Ito, met Yasunari Kawabata in a cafe in Tokyo just after he went to college, and soon they got engaged. Later, for some unknown reason, the woman tore up the engagement on the grounds of "special circumstances".

He was betrayed by people who could not understand him. He struggled to support himself and left a scar on his mind that could not be healed for a long time. From then on, I developed a kind of timidity and inferiority, never dared to pour out my love to women frankly, fell into self-repression, suffocation and distortion, became more withdrawn and believed in fate more.

1July, 920 to1March, 924, in college, Kawabata Yasunari reformed and updated literature and art to challenge the literary world at that time, and reissued New Ideas (the sixth time) together with students who loved literature, and published "A Scene of Evocation Festival" in the inaugural issue, describing the tragic life of circus actresses. Kawabata Yasunari's name first appeared in the Yearbook of Literature and Art, marking the official entry of literary youth into the literary world.

After Kawabata Yasunari published "The Scene of the Soul Festival", he often went to Izutang Island with melancholy feelings because of frustration in his emotional life, and wrote the unfinished "Memories of Tangdao". 1923 1 After the publication of Literature Chunqiu magazine, he wrote short stories "Melancholy in Lin Jinhua" and "Celebrities Attending Funeral" for the magazine in order to tell and vent his anguish. At the same time, under the interweaving of love and hate, he wrote a series of novels, such as Extraordinary, Fire in the South and The First Work. Some of them are written directly based on his love affairs, and some are fictional. To sum up, Kawabata Yasunari's creation at this stage mainly describes the life of orphans, shows his deep nostalgia and grief for his deceased relatives, describes his own love twists and turns, and describes his frustrated troubles and sorrows.

These novels constitute a remarkable feature of Kawabata Yasunari's early works. The sentimental tone of these works, as well as the difficult loneliness and melancholy, runs through his whole creative career and becomes the main tone of his works. Kawabata Yasunari himself said: "This kind of orphan's sorrow has become the undercurrent of my first novel", "maybe it is the undercurrent of all my works and the whole career". During his college years, Kawabata Yasunari not only wrote novels, but also wrote more literary criticism and literary criticism, which became an important part of his early literary activities.

1924 After graduating from university, Yasunari Kawabata and Hiroshi Yoko launched the New Sensory Literature Movement and published a famous paper, Explaining the New Tendency of New Writers. In a sense, it has played a guiding role in the creative method and movement direction of the new sensation writers. However, in creative practice, he didn't make much achievements, only wrote several works with some characteristics of neo-sensualism, such as Stamens of Plum Blossoms and Red Flowers of Asakusa, and he was even regarded as a "heresy in neo-sensualism" by critics. Later, he himself publicly stated that he didn't want to be their fellow traveler and was determined to take his own unique literary road. His famous work Dancer of Izu is an attempt to open up a new path in art and to maintain the traditional color of Japanese literature on the basis of absorbing the new sensibility of western literature.

Kawabata Yasunari turned from neo-sentimentalism to new psychology, and sought his own way out from the creative technique of stream of consciousness. He first tried to write Needle, Glass and Fog and Crystal Fantasy (193 1), in an attempt to get rid of the neo-sensualism and introduce Joyce's stream of consciousness and Freud's psychoanalysis, thus becoming one of the earliest new psychological works in Japanese literature. In the use of stream of consciousness, crystal fantasy is often more familiar than needle, glass and fog. The story describes a barren woman who imagines her husband who studies eugenics through the three mirrors of a dressing table, and lets a male dog mate with a barren bitch, which makes her have sexual fantasies and a strong sense of reproduction, revealing an ugly moan. The description of "inner monologue" in creative techniques is intertwined with fantasy and free association, which obviously shows the decadent tendency of western literature in ideological content.

In the second year, Kawabata Yasunari turned to the other extreme, and uncritically used the reincarnation thought of Buddhism to create lyric songs. With the help of spiritual dialogue with the dead, he described an abandoned woman and called on a dead man to tell his true feelings, which was full of oriental mysticism. This kind of Buddhist thinking and nothingness of "soul resonance" also runs through his Song of Comfort.

Kawabata Yasunari's exploratory creative path shows that he did not have a deep understanding of the problems of western literature at first, but only relied on his keen sense to blindly learn from western modernism, that is, simply transplanted horizontally. Later, he realized that this road was impossible, completely negating western modernist literature, completely leaning towards Japanese traditionalism, and completely inheriting Japanese Buddhist philosophy, especially the idea of reincarnation. Without analysis, it is simply vertical inheritance. Finally, I began to sort out my own literary logic in two extreme opposites, resulting in an impulse and conscious understanding of criticizing traditional literature and western literature. At this time, he deeply explored the connotation of humanistic idealism in Japanese tradition and western literature, and explored the internal coordination between them in his works. Finally, based on tradition, he absorbed the skills and expression methods of western literature. Even after absorbing western literary ideas and concepts, they began to pay attention to Japanese. Snow Country was born in this kind of thinking about the comparative exchange of eastern and western literature.