The concept of "yam egg pie"?

Contemporary literary school represented by Zhao Shuli.

The main authors are,, Rong,, Sun Gan, etc. they

They are all writers born and raised in rural areas of Shanxi, and they have a profound rural life.

Foundation. After the mid-1950s, they consciously took Zhao Shuli as the center.

Cultivate and form schools with similar styles. Representative works include Three Mile Bay, Registration,

Exercise, Uncle Zhao, the breeder, met three years earlier, and Sister Lai,

"Boss Song goes to town" and so on. They adhere to the creative method of revolutionary realism and are loyal.

Be loyal to the real life in the countryside full of sharp and complicated contradictions, and be loyal to yourself.

True feelings, pay attention to the complexity and diversity of characters. What did they write?

New life, new characters are not divorced from the reality of life, but

Simple, heavy and authentic. Successfully created many backward figures or "China"

Between people, such as leg pain, not enough to eat, lai Sao and so on.

The image of. Shan Yao Egg School inherited and developed China's classical novels and rap.

The tradition of learning is mainly to tell stories, and the description of character scenes is integrated into stories.

Narratively, the structure is smooth and distinct, and the characters mainly use language.

And he is good at choosing and using rich details to describe and express.

The works are concise and easy to understand, with strong national style and local characteristics.

Square color. Before the downfall of the Gang of Four, Shan Yao Egg School also left many times.

The influence of tides has not been fully exerted. After the downfall of the Gang of Four, Shan

There are also a group of young writers in the west who consciously strive to maintain and develop this genre.

Force.

On the School of "Yam Egg"

Social life is rich and colorful, and as a reflection of social life, literature and art should also be rich and colorful and have their own characteristics. Therefore, it is a regular and gratifying sight to see different schools in the garden of literature and art; But to our regret, people have been afraid to talk about genre for many years, and writers are even less willing to be regarded as a genre, and even less willing to systematically analyze and study genre. With the smashing of the Gang of Four and the spirit of emancipating the mind shining in the Third Plenary Session of the Eleventh Central Committee of the Party, the literary and art circles put the discussion of literary schools on the agenda in order to further prosper our literature and art, showing an exciting situation. At this time, the literary school of "Yam Yao Dan", represented by Zhao Shuli, has attracted the attention of the national literary theory circle. In Shanxi, the discussion was quite enthusiastic, and a mass discussion was held in Shanxi Daily. This has really played a good role in further systematically summarizing and developing this school. Here, I want to talk about the emergence and formation, artistic features, defects and future of "Shan Yao Egg School".

Zhao Shuli (1906— 1970) is a people's artist and novelist. Qinshui, Shanxi, was born in a poor peasant family. He was personally oppressed and exploited by landlords and loved folk art since childhood. 1925 Entered the Fourth Normal School of Changzhi, Shanxi Province. 1926 was expelled for participating in the student movement, and was arrested and imprisoned the following year. After he was released from prison, he became a rural primary school teacher and lived in the countryside for a long time. 1932 began to publish works. 1937 joined the revolution at the beginning of the Anti-Japanese War, and joined the China * * * Production Party in the same year. He has served as district head, editor of the supplement of Yellow River Daily and editor of the supplement of China People. The forties was the golden age of his creation, and the creation and publication of Little Black's Marriage (1943), Li Youcai Banhua (1943) and The Changes of Li Jiazhuang (1946) established his important position in the history of new literature. From 65438 to 0949, after the liberation of China, he devoted himself to the study of popular literature and compiled Talk, Rape and Singing and Quyi. Attended the first, second and third National People's Congress, the first and second writers' congresses and the eighth party congress, and served as a member of the Federation of Chinese Literary and Art Circles, director of the Chinese Writers Association and chairman of the China Quyi Workers Association. 1955 published an excellent novel "Sanliwan", which is the first profound work reflecting agricultural cooperation in China. Other works, such as Exercise, Sleepless Hands and Lingquan Cave, are all influential. The artistic achievement of Zhao Shuli's novels lies in creating a novel and lively popular style, which is loved by ordinary people. His works can be said to embody the national spirit. The characters he describes are all authentic farmers in China, and everything he writes has the style and characteristics of rural areas in China. Language is a real popular language, full of humor. Zhao Shuli's "The Road to Creation for the People" has had a far-reaching influence in modern and contemporary literary circles in China, forming a literary school commonly known as "Shan Yao Egg School", whose main members are, Rong, Sun Gan and so on. Many of Zhao Shuli's works have been translated into English, French, Russian and other languages, which have become Universal Library's precious wealth. 1970, Zhao Shuli was persecuted by the counter-revolutionary group of the Gang of Four at the age of 64.

The Origin and Formation of the School of "Yam Egg"

In the new literature of China since the May 4th Movement, vernacular Chinese has replaced the authentic position of classical Chinese in literature and started the glorious course of literature facing the broad masses of the people. With the anti-imperialist and anti-feudal development of the masses led by the proletariat, in the 1930s, the "Left Alliance" seized the theme of literature popularization and entered a new stage. However, due to the immature historical conditions at that time, writers were still outside the revolutionary life circle of workers and peasants, and popularization could not be solved in practice. When War of Resistance against Japanese Aggression broke out, revolutionary intellectuals and writers living in cities rushed to the anti-Japanese front. They fight and live together with hundreds of millions of workers, peasants and soldiers, and they are closely linked, which is a matter of life and death. Only in this way can we fulfill the popularization requirements of literature put forward by revolution and history. It is in such a historical period that Comrade Mao Zedong timely summed up the experience from the May 4th Movement to the Left-wing League and the literary movement in the Soviet area, and published the Speech at the Yan 'an Forum on Literature and Art, asking revolutionary writers to take the road of popularization more consciously, write about workers, peasants and soldiers, and create for them. Opera White-Haired Girl, long poem Wang Gui and Li Xiangxiang, prose Lotus Lake, novel Above the Great Wall, the story of planting a valley, etc. Inherited and carried forward the tradition of the May 4th literary revolution, and initiated a brand-new era of China's new literature. Among them, Zhao Shuli's works, such as Marriage of Little Black Boys, Li Youcai Banhua, and Changes of Li Jiazhuang, are directly based on the struggle life in the Taihang Anti-Japanese Base Area. They depict a brand-new era, new people's life and struggle with fresh and simple national form, lively and vivid mass language and healthy and optimistic humor style, creating a new popular form, which not only won. Zhao Shuli is the product of the times. As a representative of literary creation in this era, he is known as a "people's writer", which is of course. Some comrades said that Zhao Shuli was "blown" into a writer by some leaders. This view should be said to be groundless. Zhao Shuli's "Lookout" specifically pointed out the creative path for some young intellectuals who were born and raised in the Taihang base area and loved literature and art: many people used local materials and used their national languages to write many well-known works with local flavor. But at this time, a genre has not yet formed. 1945, Comrade and Comrade Rong wrote the Biography of luliang heroes. Under the guidance of Comrade Mao Zedong's speech, these two young writers, who lived and fought in the border area of Lvliang, embarked on a creative road consistent with Zhao Shuli through their personal experience of farmers' life. At this time, they have not been regarded as factions. This school was formed after the founding of People's Republic of China (PRC), especially in the late 1950s, and they returned to Shanxi from Beijing and other places. Taking Spark (the publication of Shaanxi Federation of Literary and Art Circles) as the position, Zhao Shuli published Exercise, wrote Uncle Zhao, the Doorman, the Ancient Road, I had known for three years, and wrote Rong. Sun Gan published The Story of Scar, and Hu Zheng wrote short stories such as Two Clever Daughters-in-law and Ancient Temple Fair in March, all of which were set in the countryside and filled with Shaanxi dialect. They were regarded as "Spark School" or "Shaanxi School" by literary and art circles, and were jokingly called "Shan Yao Egg School", which formally formed an independent school. At this time, in addition to these old "yam eggs", a number of small "yam eggs" emerged in Shanxi: Han Wenzhou, Li Yimin, Song Guisheng, Cao Zhang, Yang Maolin and so on. Their creative path and style are close to the old "yam egg". Since then, this genre has not developed in the direct current, and it is often criticized as low-level and outdated. This is the second, mainly from an ultra-left trend of thought above. It has criticized the main writers and works of this school several times publicly or privately, and after several ups and downs, it was completely destroyed by the Cultural Revolution. Several great writers were labeled as "black pacesetters writing middle figures" and so-called black figures in literature and art, and suffered long-term torture, while Zhao Shuli died tragically at the hands of the Gang of Four. However, the thought-provoking fact is that the "yam egg" has not been uprooted, but has become extinct. Instead, a number of new small "yam eggs" appeared. Excellent You Chengyi, Zhang Shishan, Han Shishan, Mary, Pan Baoan, Tian Dongzhao and others. 1980 National Excellent Short Story Award, with five authors in Beijing, the most; From the perspective of provinces, there are three people in Shanxi, the most. Of these three people, it goes without saying that Ma Feng, a young writer Zhang Shishan, is also a "yam egg". His award-winning work "Han Baoshan with Handle" is more "yam egg" than Ma Feng, and Zhao Shuli has a stronger flavor. Interestingly, in addition to Shanxi's "yam eggs", Hebei also produces them. There are two young writers in Hebei: Jia Dashan and Zhao Xin. They call themselves the "yam egg" school, and their works really have a blue "vinegar taste" and are "yam eggs".

What does this mean? Explain the vitality of the "yam egg" school. It does not grow because of people's "blowing", nor does it wither because of people's suppression. Its roots and buds are deeply rooted in the revolutionary requirements of historical development and observing reality, and it has endless nutrients and vigorous vitality.

Characteristics of the School of "Yam Egg"

First of all, from the literary point of view of the "yam egg" school, we say that they are in the same strain as Lu Xun's views of "serving life" and "improving life". Holding a pen is to "persuade people" (Zhao Shuli's words) to persuade people to engage in revolution, and writing has a clear revolutionary purpose. They think it is very important to take a pen, a gun and a hoe, and they also work for the revolution. There is only a different division of labor between them, and there is no distinction between high and low. In their view, working for the revolution and writing for the revolution are the same thing. Therefore, they do not despise or evade the tedious administrative work, but take certain administrative tasks as the main way to get familiar with people, collect materials and grasp the theme. As a result, the writers who formed the "yam egg" school have the same style, that is, wherever they go and work, they are not guests, but always "masters of life". In the way of life, the writers of "Shanyaodan" school have always maintained the unique style of rural grassroots cadres and even farmers. This is reflected in the works. The writer's kind, simple and funny storytelling tone attracts all the body and mind of rural readers, such as brothers and bosom friends. I thought this was the characteristic of "Yam Egg" school.

Secondly, the creative method of "Shanyaodan" school naturally adopts the method of revolutionary realism, just like many revolutionary writers in China. However, realism is also a revolution, which is not only different from society and times, but also different from environment and people. Shanxi writers, represented by Zhao Shuli, adopt revolutionary realism in their creative methods, which is characterized by emphasizing on grasping the problems that need to be solved in the revolutionary process, that is, the contradictions in real life, giving prompt and timely responses and helping the problems to be solved as soon as possible. This is what Zhao Shuli called "problem novel". In socialist construction, Jinsheng's father, son, brothers and sisters are all smart and capable socialist leaders. In his works, he created a series of new socialists, such as Tian Chunsheng, Director Tian, and ordinary party member and grassroots leading cadres. However, closely related to this achievement, the writers of "Shanyaodan" school also clearly and profoundly felt and understood that the feudal thoughts spread by China's long-term feudal system still poisoned the peasants, and the backward consciousness such as selfishness generated by individual backward small-scale peasant economy still bound the peasants and became the ideological source of various problems in rural revolution and construction. The problem in A lies in educating farmers "(Lenin). We don't have to mention such figures as Third Fairy, Second Kongming, Little Leg Pain, Lai Sister-in-law, Tian Papaya and Three-year Jujube. The writers of "Shanyaodan" school have made great efforts to realize this theme, and created a considerable number of artistic images of farmers with unique personalities in the process of transformation, many of which can be said to be old and young in Shanxi. This is the artistic achievement of the "yam egg" school, and it is also the most brilliant manifestation of their realistic characteristics.

Third, the themes they created are all rural areas, but because they are different from other writers in selecting materials, they show their own characteristics. There are few legendary heroes in their works. They pay attention to reflecting the great changes of the times from ordinary people and ordinary scenes; Love describes the earth-shaking struggle in the countryside. Therefore, from the new-democratic revolution to the socialist revolution and construction, they worked hard in close coordination with the party's line and policies, often focusing on the family and love disputes of ordinary farmers and the contradictions and conflicts between people in general work and daily labor scenes. They are very concerned about the life exploration of ordinary farmers and explore their inner activities and changes. They profoundly showed the pace of the giants of the times by describing the life interest of "people have changed" (Ma Fengyu).

Fourth, about the characteristics of art forms. At this point, everyone generally recognizes the nationalization and popularization of the "yam egg" school. Indeed, Zhao Shuli has loved and mastered many kinds of folk arts since his youth, and he was an excellent folk artist before he became a writer. Comrade Rong, Rong, and others also tried to learn from folk art, collected a large number of folk stories, and repeatedly studied the superb artistic techniques of the masses in telling stories, portraying characters and expressing their feelings; Zhao Shuli once said that he did not inherit the tradition of national art, which can also be said to be a summary of the experience of the "yam egg" school. Besides Biography of luliang heroes, we can also see the imitation of Zhang Hui's novel form. Their short stories just don't show any traces of imitation. It is clearly the narrative form of Han nationality in China, but it is completely different from the old one, which makes people feel very fresh. This reason lies in them; First, don't apply ethnic forms, but absorb the essence that can be used by us; Second, more importantly, they also pay attention to absorbing nutrition from foreign progressive literature. Zhao Shuli is also an international student. Guided by the works of Lu Xun, Chekhov and Mo Bosang, he embarked on the road of literature. He wrote Europeanized lyric novels when he was young. Other writers had similar experiences when they just set foot on the literary road. Shu is an early novel with Chekhov characteristics. Hu Zheng's first novel Monument is like a translated novel in language and structure. Rong and Sun Gan all wrote similar works. It is precisely because of this that they have formed representative works of style, all of which are national; The light of traditional folk art, combined with excellent foreign artistic techniques, is fresh and unique. Take "Registration" as an example. Is it based on the structure of folk stories? But when Xiao Fei picked up an arhat money that fell out of Yan Yan's pocket from the ground, it reminded her of the past 20 years ago, and then she told the story of taking arhat money. This is not clear. Did you use the flashback technique commonly used in foreign novels? The interactive appraisal begins with a letter, and the practice begins with a fast-paced poster. The sleepy hand only describes one of Mr. Chen's hands. These are all foreign methods. Ma Feng's epistolary Han Meimei, several first-person novels, is more obvious in the cross-sectional writing of marriage and the adoption of foreign artistic techniques. However, this has not weakened, on the contrary, it has enriched their nationalization and popularization, because every word written by the "potato and egg" writers is considering the tastes of their readers-farmers. The spiritual food they make must make the farmers taste delicious and full of fragrance. Therefore, they don't want farmers to eat old rice, and they don't want them to eat western food that they are not used to. They always adapt to the needs of content, constantly absorb the traditional artistic elites of their own nation and their own nation, and on the basis of not destroying farmers' tastes, integrate foreign artistic techniques and constantly innovate.

What are the traditional characteristics of our national (including folk) art? From the artistic form, it can be summarized as one point: strong action. Ask the characters in the story to strengthen their actions and not interrupt the story; It is required to integrate the scenery into the narrative, draw the portrait of the character through the eyes of another character, and the gesture of the character should have a psychological basis, so that the psychological description can be reflected in the action, rather than the author's static psychological description without the action of the character, and so on. The works of the "Yam Egg" school strongly show this feature. The advantage of this function is that the sketch looks perfect after repeated use, which conforms to the artistic principle of "taking one as ten". How can it be said that such works are low-level works lacking artistry?

Fifth, the use of language. The language used by the "Shanyaodan" school is the language of Shanxi farmers, thus forming a completely different language feature from the writers who created popular languages in other regions. However, this alone can not fully explain the literary and linguistic characteristics of the "yam egg" school.

Comrade Sun Qian once said. Zhao Shuli's language once said that he "never used Shanxi dialect, but he maintained a very strong local color;" He didn't use dirty, dirty and dirty words, but he vividly described the exploiters, oppressors and defenders of the old morality. Zhao Shuli's language is catchy, understood by everyone, humorous, accurate and vivid. This language is pure gold, diamonds, sparkling and clanging ... ",he compared reading Zhao Shuli's works to eating hometown food after a long separation. The food is very simple, but very delicious and very satisfying. After leaving work, the aftertaste is still in my mouth. Comrade Sun Gan's words accurately summarized Zhao Shuli, and also summarized the * * characteristics of Shan Yao Egg School writers in using Shanxi mass language:

1. Shanxi Province is one of the provinces with complicated dialects in China. If Ma Feng and Sun Gansheng's filial piety fly to Wenshui farmers and Zhao Shuli's hometown Qinshui farmers sit together and speak authentic hometown dialect, they will really treat each other like foreigners, and no one can understand what anyone is saying. But their works written in the language of Shanxi people can be understood not only by farmers in Shanxi, but also by farmers in many other provinces. This is precisely because they pay great attention to the language norms of the whole nation as the standard, and choose the popular language of Shanxi to avoid the intolerance of local languages. At least in North China and Northeast China, farmers have talked about "big aunt" and "little sister-in-law", right? In Revenge of the Village, Ma Feng becomes a "wife and sister". The words "Zha", "What" and "What" that farmers in Shanxi often say are not found in any of Zhao Shuli's works. He changed them into Mandarin: "How", "What to do" and "What to do". So, how do they express the local flavor of Shanxi mass language? One is to choose Shanxi dialect that mainlanders can understand. For example, Zhao Shuli used the authentic Shaanxi dialect in Li Youcai Banhua. No, many counties in Shanxi are called "guest" instead of "guest", some say "Qi", and some say "adult" and "guest". Shangdang area is called "guest", which has many meanings. In the vernacular, it means "relatives". This unique appellation in Shangdang area is basically inseparable from the appellation of the whole nation, so readers in this province and other provinces can understand it immediately without feeling estranged. This is a way to make their language rustic, but more importantly, they are good at mastering and using the way of speaking that can express the temperament and psychological habits of Shanxi farmers, and they can show the taste of Shanxi with vinegar without using a dialect and dialect. To illustrate the problem, let me give an example outside their works. Ma Feng once said that at a meeting, he and Lao She and Zhao Shuli sat at a table for dinner. He once asked two masters of popular languages, "Can you two write in different languages?" Zhao Shuli said, "I don't have that ability." Then Lao She said, "Then we are both ruined!" We don't discuss the content of their conversation here, only the differences in their ways of speaking. Lao Zhao and Lao She also said the same thing; No However, Lao Zhao's words are based on whether he can answer directly, so it looks straight and simple; Lao She, on the other hand, avoids direct answers and assumes the result of inference, which is imaginative and tactful. The two of them didn't use Shanxi dialect or Beijing dialect, but expressed the local flavor inherent in the popular languages of Shanxi and Beijing clearly in a simple sentence. People often say that they should be familiar with the language of the masses, thinking that they just recite some dialects and two-part allegorical sayings, but they will never be familiar with them. To be really familiar with them, we should be very familiar with the way they express their feelings in mass language, just like Lao She and Zhao Shuli. With a pen and a mouth, everyone can understand and understand the local accent. Most of the writers of "Shanyaodan" school have such a profound skill in Shanxi popular language, so what they write is not only the authentic Shanxi popular language, but also has a strong local flavor without complicated and puzzling remote dialects.

2. Pass but not vulgar. Literature is the art of language, and the "Yam Yao Dan" school naturally needs language to attract and impress people, that is, to have artistic expression. Therefore, they have lived among farmers for a long time and always pay attention to absorbing the beautiful language of the oral life of the masses. "Look at those punch lines, you should learn. Those are tacky and smooth. Naughty children like things that serious people hate and can't learn. " (Zhao Shuli) They constantly explore and refine the language of art from the language treasure house of the masses. There are many kinds of swear words in various dialect areas in Shanxi, among which there are many vulgar and glib sayings, such as two-part allegorical sayings, which are generally abandoned by writers of "Shanyaodan" school. Their language is full of humor and satire, but they are all upright, reflecting the optimistic and upward character of the masses, without boring gags and hasty arguments. They use the healthy and pure artistic language of Shanxi people, and give full play to the characteristics of the image beauty, agility beauty and music beauty of popular language, forming the artistic language style of "Shanyaodan" school, which is simple and elegant, sincere and humorous, solemn and humorous, serious but often humorous: vulgar but not vulgar. It is no exaggeration to say that the "Yam Yao Dan" school has made great contributions to enriching the literary and artistic language of the Han nationality.

The above aspects are inseparable and organically unified, forming the artistic characteristics of the "yam egg" school. If the symbol of genre focuses on the form of expression, especially the language, then we can generally say that the artistic characteristics of the "Shanyaodan" school are the ingenious use of the pure artistic language of Shanxi farmers and the simple and funny comedy style that is good at telling stories.

Defects and development prospects

Like any literary school and writers with their own styles, the "Yam Yao Dan" school has its own artistic defects, but it also has the same defects. For example, the description of life is not broad enough, which reflects the great contradictions and struggles of the times and is not direct and powerful enough; Including Zhao Shuli, there are also people who value things over people. In order to take care of the plot, they occasionally drag their feet; Or emphasize solving problems in combination with the current task, and start writing in a hurry before extracting your own theme from the feelings of life, thus writing a work with insufficient personal content and lack of personality. However, can it be said that this school has "lost the objective conditions for development" and "is heading for decline or variation"?

The times are progressing, and the life, ideology and education level of farmers are improving; Literature and art, as a mirror of the social life of the times, cannot remain unchanged. Zhao Shuli's works in the forties are different from those in the fifties and sixties in content and form. Compared with Zhao Shuli, Ma Feng paid more attention to discovering and shaping the image of new people in the new revolutionary stage, and more integrated the techniques of western Europe in structure, which enabled the "Yam Yao Dan" school to develop. What about Ma Feng himself? It's still developing. For example, in Tears, due to the different modeling methods adopted by movies and novels, the style has also changed accordingly, and writers who have always been good at writing comedies have to write tragedies, which cannot but affect the weakening of the inherent style. However, in terms of structure, the integrity of the story does not break the prominence, maintains the order of development, and pays attention to arranging "buttons" to arouse suspense and attract audiences. And still do not lose the taste of "yam egg". Especially in characterization, the humor of the public security bureau chief, cheerful optimism, loyalty of the old poor peasants, wit and humor of accountants, political sensitivity of Zhu's insight into all complicated things, courage and courage of a fearless hero who dares to take risks for the party and the people are harmoniously unified in his simple, friendly and humorous style of playing a little joke with his comrades. This is the tragedy of director Tian and director we met in the new situation. "Tears" is still a "yam egg". Naturally, it is a variety. The biological world is always in the variation of species, but the problem is that variation does not mean that it is all degradation. On the contrary, most of them are superior to the original species because of heterosis. The whole evolutionary history of biology fully illustrates this truth. It gradually absorbed the advantages of different schools and even foreign progressive literature, and promoted the continuous development of "yam eggs", and new varieties often appeared, such as Cheng Yi, Han Shishan, Zhang Shishan and other new small "yam eggs". , clearly shows this trend. This is gratifying and conforms to the law of evolution. This does not mean the "withering" of the "yam egg", but fully shows the vigorous vitality and vigor of the "yam egg", because although it is a variant, it is a better "yam egg" after all, not an old sweet potato or a sweet potato!

Nowadays, there are more educated people, middle school students and intellectuals in rural areas. The writers of "Yam Yao Dan" school know this better than we do, so the images of all kinds of rural intellectuals familiar to readers have already appeared in their works. Due to the increase of educated youth, have our 800 million farmers changed their psychological habits, aesthetic tastes and language styles formed in history? At this point, we should be more modest and respect the new and old writers of the "potato egg" school. They have been with farmers for a long time and write for them, and they know more than we do. If we infer from the general historical laws of all ethnic groups, I am afraid that the psychological habits, aesthetic tastes, and especially language styles of a nation or a region may not undergo fundamental changes in just a few decades. Then, 800 million farmers asked literature to express them and supply them.

Facts have proved that the "Shan Yao Egg Pie", which is welcomed by farmers (not just farmers), cannot stop its own development.