What kind of person is Wang Zengqi?

Wang Zengqi was influenced by Shen Congwen, but few people realized that "shine on you is better than blue". As far as the richness and maturity of his works are concerned, Wang Zengqi has expanded and extended Shen Congwen's aesthetic spirit to a new peak. The value of Shen Congwen lies in his lyrical description of the countryside and his narrative attitude of abandoning ideology. He drew nutrition from Merimee, Turgenev and other classic writers, and created a precedent for China's custom novels. Wang Zengqi succeeded in inheriting the teacher's narrative attitude of ignoring ideology and the lyrical spirit of poetic, vulgar and prosaic culture, but Wang Zengqi expanded Shen Congwen's perspective from the countryside to the market, which was a great pioneering work. Generally speaking, the description of the countryside is often lyrical and poetic. In the European literary tradition and Russian literary superstars, there has been a huge "database" that describes the countryside poetically. In China's literary tradition, although there is no concept of countryside, China's pastoral poems, as well as his traveling notes and reclusive essays derived from them, also have a profound traditional accumulation of poetic description and imagination of countryside. For ordinary people, China literature is rarely described, let alone poetic. For example, The Water Margin, as China's first novel describing the market in all directions, has made great achievements. However, it is difficult to describe the street poetically in Water Margin, because compared with rural life, street life has too much fireworks and too much secular flavor. But the poetry of life is everywhere. It is often said that it is not the lack of poetry in life, but the lack of eyes to find poetry. Wang Zengqi has such a pair of eyes that he can find poetry, and poetic existence can be found everywhere in his life. When many people write the impression of Wang Zengqi, they will mention that his eyes are still full of childlike interest and watery in his later years. The eyes are the externalization of the mind. Wang Zengqi's bright, childlike eyes made him discover poems that most people ignore or disapprove of in life. The theme of rural life, such as "Make a scene in Heaven" and "Learn from the Buddhist scriptures", will naturally be full of poetry. Of course, in Wang Zengqi's works with similar themes, the spirituality and humanistic poetry achieved by these two poems are unmatched by contemporary writers. However, in his novels with pure street themes, such as Three Friends at the Age of Cold, Migration, and Three Chens in My Hometown, Wang Zengqi keeps poetry quiet and subtly permeates every corner of daily life. Of course, some people may say that the description of hometown life is easy to bring emotional beautification of memories and memories, and it is easy to make the old people and old things in the past produce warm and even poetic light, because hometown is the starting point and destination of people's hearts. But when you open Wang Zengqi's works set in Beijing, Zhangjiakou, Kunming and Shanghai, you will still feel the irresistible human touch and daily beauty. It is reasonable that Wang Zengqi can be loved by readers of different cultural levels and regions. Market, in Wang Zengqi's works, has gained the same status in poetry and literary life, and is no longer synonymous with secularity, but the embodiment of human value. Wang Zengqi himself realized that the value of this kind of street novels lies in the value of "people". He said, "Street novels have no epics, but they are trivial things. There are no' heroes' in' street novels', they are all extremely ordinary people. " Street novels are all "people". There are many people. How many cities and citizens are there in China? They're people, too. Since they are people, we should look at them from the perspective of' people' and observe, think and express their lives. Unfortunately, the value of such literary creation has been neglected for too long.

As far as language is concerned, Shen Congwen has reached perfection, and his narrative language and character language are so precise and natural. However, it is not difficult to see that Shen Congwen's novel language obviously bears traces of the new literature, which is the style of western novels, which of course leads to a certain "isomorphism" between the style of new literature and the style of translated works. In the period when vernacular Chinese just came into being, the writing of new literature naturally subconsciously accepted the influence of translation style. For example, the language of Lu Xun's novels is very similar to his style of translating Liu Tie. Among contemporary writers, Shen Congwen is the most thoroughly filtered writer in translation style. However, there is no doubt that Shen Congwen's novel language is full of China local flavor and folk flavor, as well as the innovative flavor of the May 4th New Literature. However, when reading Shen Congwen's works, we seldom think of China's classical culture and China's literati narrative tradition. Compared with Shen Congwen, Wang Zengqi is good at flat sentences and short sentences, and few long sentences are more European. When reading Wang Zengqi's novels, it is easy to think of Tang poetry, Song lyrics, Yuanqu, note novels, serial stories and a dream of red mansions, because Wang Zengqi was influenced by China's classical culture since he was a child and had personal experience and feelings about China's cultural traditions. More artistic and elegant than Shen Congwen's wildness and original ecology. As the narrative of China's novels, Wang Zengqi completed the connection between ancient and modern times and the end of his translation style. Translation style has a profound influence on China literature and promoted the birth of China's new literature. However, translation style, as an exotic product, will eventually be linked with the local flavor of China culture. Wang Zengqi lives between modern literature and contemporary literature, and history has created such an opportunity to let people know what the real "China narrative" is. Especially after 1978, China literature is facing the crisis of Europeanization again and the second wave of translation style. Wang Zengqi only reminds young writers who are full of enthusiasm and dedication to foreign countries to "return to realism and national tradition". As a witness of "modern" literature, Wang Zengqi still maintained strong creativity in the contemporary literary period. He is not the kind of experienced person who pretends to be an elder who only talks and doesn't practice. Although his reminder can't correct the atmosphere at that time, the existence of his works makes young people sit up and take notice.