Appreciation of the Prose "Rain Pavilion"

Cultural Analysis of Rainy Days in the Pavilion

Abstract: Yu's prose has always been favored by readers and praised by many critics. Yu's cultural prose is more devoted to the shaping of culture. Prose has a unique cultural vision, with its unique perspective, using the spotlight of culture to express the context and rhythm of culture. Yu also boldly created a new cultural essay combining "meaning" and "thinking", seeking China's cultural implication and the true meaning of life through the scenery, and exploring the great connotation of China culture and the personality composition of China literati. Therefore, the theme is very prominent in his prose, always shining with the author's unique ideological light, and the author also embodies the sensational characteristics of his prose in accurate and popular language. This paper attempts to make some personal analysis of the short article "Rain Pavilion" selected as a Chinese reading book for middle schools from the cultural perspective.

Yu, a native of Yuyao, Zhejiang, is a contemporary scholar and essayist. He was awarded the title of "National Outstanding Contribution Expert" and shocked the literary world with his first collection of essays "Cultural Journey". Since then, the banner of "scholar prose" (or "cultural prose") has been played. His works are quiet and have cultural connotations, so they are loved by readers. The essay "Rain Pavilion" is one of Yu Xiansheng's essays "Cultural Journey" published in 199 1 Even if it appears on almost all Chinese websites or magazines, it is logical to be selected as a famous Chinese article in middle school.

First, the stormy cultural perspective

A Pavilion of Wind and Rain is Mr. Yu's only essay on China's book collection culture in the cultural journey. It is not a simple prose about scenery, lyrical prose, or prose about things, but a prose about realizing the context and significance of a cultural phenomenon. History and culture can be seen everywhere in this paper. The book Cultural Journey focuses more on the topic of China culture. He looks at mountains and rivers from a cultural point of view, and his articles have different meanings, both describing scenery and expressing feelings or comments. Mr. Yu stands in a unique angle, uses his unique perspective, and uses the spotlight of culture to express the cultural context and rhyme.

Yu said in the preface of "Cultural Journey": "I found that the place I particularly want to go is always the place where ancient culture and literati left deep footprints, which shows that the landscape in my heart is not entirely a natural landscape, but a human landscape." Pay more attention to the China culture attached to the landscape. This is also the prose feature of Cultural Journey.

So, what is culture? What is culture? Culture is a big concept, which refers to all material wealth and spiritual wealth created in the historical development of human society, especially social ideology. In other words, everything is human culture; Diet has food culture, architecture has architectural culture, tourism also has tourism culture and so on. Moreover, different nationalities also have their own culture. The same culture, different nationalities and countries will be different. Our Chinese nation has a civilization history of 5,000 years. The recording and circulation of characters have formed two cultures. One is the content of words, which is history. The first is to record the way, process and change of history, and the historical spread of history. [2] The spread of China's history depends on books, so the history of book collection is tantamount to book collection culture, but many of us may never think and observe from the perspective of book collection culture. After reading the stormy days by Mr Yu, we can find that there is such a discipline field and branch in China culture.

It can be said that "Tianyi Pavilion" is a very important library in the collection history of China. It is a distinctive library, which embodies the basic characteristics of book collection and circulation in China feudal society. The story of Tianyi Pavilion and its ups and downs is almost a condensed history of China's book collection. Therefore, the author also named the article "Rainy Days". Tianyi Pavilion is located in Ningbo, Zhejiang Province, and it is really appropriate for Yu from Ningbo to write this article.

Since the Ming and Qing Dynasties, the cultural atmosphere in Jiangsu and Zhejiang provinces has been very strong, which may also be closely related to the economic, cultural and artistic relocation of the Central Plains after the Southern Song Dynasty moved its capital to Hangzhou. Under the guidance of the rule of "learning to be excellent is to be an official" in feudal society, children in cities and villages regard reading as a fashion. In such a piece of land, there is a library like Tianyi Pavilion, and everything seems natural.

Second, the cultural meaning of "stormy days"

The Stormy Pavilion traces back to the sad history of Tianyi Pavilion's library collection and praises the valuable cultural conscience of Fan Qin and his descendants. The title embellishes "Tianyi Pavilion" with "wind and rain", which lays the tone of the full text, constructs the materials of the full text and metaphors the main idea of the full text.

The beginning of a stormy day is a cold natural storm. "The water in the yard is too deep to waste, and the shoe system has already flooded. The only way is to simply take off your shoes, roll up your trouser legs and wade in. It was already chilly by the wind and rain, and I felt a chill immediately when I entered the water barefoot. In this way, Pei Minghai and I walked hand in hand to the library. " This is real writing and a metaphor; This is a symbol, but also a performance. Rainstorm Like a Pavilion conveys a strong message of historical and cultural storms: about its name, about its majesty, about its hard collection and about its tragic inheritance. ...

In the second part, the sentence "Yes, it is just a library, but in fact it has become an extremely difficult and sad cultural miracle" can be interpreted as the author's overall impression of Tianyi Pavilion, which is the author's general sentence describing the historical changes of Tianyi Pavilion. This sentence tells the true face of the word "wind and rain", which refers to the historical and cultural vicissitudes in the passage of time. So I wrote all the way with this feeling. At the end of the article, the author concludes: "Tianyi Pavilion Collection ... exists as a cause and symbol of classical culture, which reminds people of the difficult course of China culture preservation and dissemination, and how sad and sacred an ancient nation is to culture." The words at the end make the concrete image of "Tianyi Pavilion" become a deeper and broader image of "ancient national culture". From this, readers can feel that the author's description and exposition of the natural and historical turmoil in Tianyi Pavilion is actually consistent with the author's ideas in the Taoist Tower and Mogao Grottoes, and the main idea is in the same strain.

The expression of prose theme is different from argumentative writing. It needs images to contain and make it have artistic beauty; Need rich content to enrich it and make it have thickness and depth of field; It also needs the flexible expression of beautiful language to make it flexible and textured. As a cultural scholar in charge of drama, Yu's prose expression is very individual. In the face of historical traces, the author's statement is not a dry history, but a tragicomedy of fresh characters; It is not a rigid intellectual judgment in textbooks, but a modern feeling of observing human feelings and humanity. Therefore, just as the author's preface: "The earth is silent, as long as one or two shrewd literati stand up, its cultural connotation sealed in the distance will rush out with a bang."

How did the "sealed cultural connotation" pour out? Let's read Mr. Yu's expression of "the historical and cultural storm of Tianyi Pavilion".

In this part, the author uses the dramatist's best language to make the story into an ongoing drama, uses scholars' rich cultural knowledge reserves, quotes related events, and comments on seemingly ongoing historical events with thinkers' most precious insights.

Fan Qin, the "source figure" of Tianyi Pavilion, appeared after the article elaborated the personality traits needed for cultural inheritance.

At the age of 27, Fan Qin became an official all over the country. "Every time he goes to be an official, he always pays great attention to collecting local ... all kinds of local chronicles, political books, memoirs and academic records. Poems carved by scholars from all over the Ming Dynasty are easy to be handed down from generation to generation, and he also searched a lot. Fan Qin plays books in his spare time, but in fact he has regarded the first priority in life as a collection of books, and being an official has become an amateur, or a necessary means for his collection of books. " You can feel that the narrative here has a strong flavor of telling stories on the spot. Then, the author simply designed it into a possible scene. "A day's official business may be trying a major case, impeaching a corrupt official, or ... but he knows that the combined weight of all this is not as good as the thin blue cloth luggage handed over by the officers at night, where several rolls of old books collected according to his meaning will be remitted to the luggage. He carefully turned the pages louder than gongs and shouts. " Here, we can feel that the author's introduction to Fan Qin is very different from the introduction of historical figures in general articles: he uses "modern continuous tense" to describe the history of the past perfect tense, which makes people feel very dramatic on the spot. As a result, Fan Qin's cultural personality of "ignoring people and emphasizing people's lightness" has been fully and vividly highlighted. [4]

Later, the author changed the subject, and naturally included the topic of "cultural conscience with sound personality" that he had paid attention to in recent years, and then used Fan Qin's anecdotes such as "contradicting royalty" and "Yan Song didn't dare to harm" as evidence. If "modern continuous tense" is Yu's first brushwork, then commenting on the described events in time can be regarded as Yu's second brushwork. This kind of brushwork makes the ancient characters directly become the objects of modern concepts, and the resulting feelings connect the ancient and the modern, which is thought-provoking.

Prose "scattered" needs to be put aside. As a scholar, facing a historical figure, many similar and related events will naturally come to mind. Here, when writing Fan Qin, the author compares Fan Qin with Feng Fang, a famous calligrapher and collector at that time, and Fan Dache, the nephew of Fan Qin. Bo Yin Lian Ping is Mr. Yu's third pen. This result, from an artistic point of view, makes the article look full and heavy. From the theme point of view, it highlights that "Fan Qin has surpassed his passion, hobby and talent, so he has also surpassed the willpower of time". Fan Qin came to the end of his life, and the author's narrative also moved to the descendants of Tianyi Pavilion.

In this way, the dramatic scene of inheritance division appeared.

This is an ancient story described in the modern continuous tense: "Fan Qin lived to be 80 years old and finally came to the end of his life. He called his eldest son and his second daughter-in-law (the second son has died) to arrange the inheritance. When the old man died, he presented a difficult problem to his descendants. He divided the inheritance into two parts, one part is twelve thousand pieces of silver, and the other part is the library on the first floor, so that the two rooms can choose. "

Then, the author's "modern emotion" came into being. The brushwork is to examine and discuss historical events with modern concepts.

"I firmly believe that this method of inheritance division has been repeatedly considered by the elderly for decades. In fact, this is his own problem: either someone in the future has no choice but to undertake the arduous cause of expecting books, or he can only make it disappear with his own life! He deliberately made the will unreasonable and made the party determined to inherit the expectation completely unprofitable. Because he knows that at this time, as long as there is a trace of adulteration, after several generations, the ingredients of fraud will multiply and he will repeat the mistakes of other quasi-calligraphers. "

So the legend of "money to marry and study" was staged. At this point, even the author himself "thinks this can be a literary work."

Indeed, Fan Qin's collection of books in those days may have originated from his independent preference for life and his rational cultural consciousness, while the collection of books by the descendants of Tianyi Pavilion needs a little "willpower", that is, a deep understanding or sincere worship of the inheritance and harsh preservation rules of predecessors. In addition, the purpose of collecting books is to spread civilization, but to spread civilization, such cold rules are needed. The so-called "bitterness" and "sadness" mentioned above may be reflected in this "inheritance". The author vividly and profoundly conveys the sadness and sacredness of cultural inheritance with various brushstrokes such as "reappearance", "comment" and "quotation".

However, what best reflects the overall cultural taste and personality taste of Fan Qin's descendants is that "Fan's offices unanimously agreed that Mr. Huang Zongxi should go upstairs to study". The author is filled with emotion here. "There are choices and judgments here, and the personality of a huge family with books shines." Later, the author wrote in a language with a strong sense of camera, "Mr. Huang Zongxi's long clothes and cloth shoes climbed the stairs quietly." Bronze locks were opened one by one, ... "

Tianyi Pavilion finally came to modern China. Autumn wind and autumn rain make the ancient library full of wind and rain. The fifth part of the article describes the bad luck of the library: the patronage of thieves, the embezzlement of booksellers, the destruction of war and chaos ... The scene described by the author is still so emotional: "Sneaking into the library, silent during the day, stealing books at night, eating only dates with me every day, and there is a water boat on the river outside the east wall to pick up the stolen books", but Lenovo Bo cited it as extremely depressed: "Miss Qian is sad.

Extreme depression turned into meditation. As a result, Mr. Yu's expression of "Tianyi Pavilion Historical and Cultural Storm" came to an end. The article enters the sixth part-conclusion. Through the author's discussion, Tianyi Pavilion has been promoted as a symbol of "classical cultural undertakings", and all kinds of bumps and problems encountered in its construction and inheritance are also bumps and problems in the generation and inheritance of "ancient culture". In this way, the theme of the article is not only a cultural relic and people related to it, but also various techniques used in the article can be regarded as his own statement of history and culture. [4]

Third,' Stormy Pavilion' creative features

(1) The theme is outstanding.

The full text is closely related to the theme, the content is carefully arranged and the examples are selected; In contrast, the discussion is clear-cut, simple and progressive, and echoes before and after; Band six, without general efforts, band one, two, five and six are all lightly written; Three or four colors. No matter from the length, tone and examples, the author's strength is concentrated in the third and fourth parts. At the same time, although other parts are written lightly, they are also organic components and cannot be ignored.

(2) The article always shines with the author's unique thought.

This is also the reason why his prose dares to be called "cultural prose". For example, the day the author visited Tianyi Pavilion was the day after the typhoon and rainstorm. Wang Yang was everywhere in the hospital, so he had to walk barefoot in his pants. The author immediately thought of the difficulty of literati going upstairs to study in history, and imagined that a hideous ceremony was held under the auspices of the Emperor of Heaven, forcing contemporary literati to worship devoutly. Similar to writing casually, it is actually closely related to the topic, expressing a cultural concept and expressing awe and respect for Tianyi Pavilion (in fact, it is sincere awe of culture). Another example is the Qian case, which reveals a new cultural proposition from the perspective of women's desire for culture in feudal society. For another example, when commenting and introducing Fan Qin, he observed and discussed from the perspective of "sound personality" to reveal the reasons for Fan Qin's success. Why did Fan Qin succeed in the end, instead of Akio Toyoda and Fan Dache, who were more talented and devoted?

There are also views on Gan Long's interview with the suicide note, and whether Tianyi Pavilion is a catastrophe, all of which shine with the author's unique personal ideas. [5]

(3) The language is accurate, popular and full of emotion.

His language style is between literary language and theoretical language. Not as romantic as literary language, there is no problem of vague theoretical language; It is not as spiritual and logical as theoretical language; There is no dry theoretical language. It is a language style that appeals to both refined and popular tastes and has strong adaptability. There are also sensational paragraphs in the writing when necessary.

The Cultural Significance of Yu Prose

(1) Academic, cultural and ideological essays.

Yu's prose is different from leisure prose. Some people call it "an academic, cultural and ideological essay". Great prose is by no means trivial Leisure prose can also be good prose, but big prose can't be written if everyone wants to. It is necessary to have cultural literacy, historical knowledge, open modern consciousness, deep understanding of the nation, traditional culture and intellectuals, and a sense of hardship, so is writing. From the perspective of choosing cultural prose, it can also be said that it is a new way to make full use of resources and avoid weaknesses. [6]

(2) Popularize historical and cultural topics.

Yu's prose has another meaning, that is, to popularize difficult historical and cultural topics, which is to build a bridge between the public and culture. Therefore, it is not only a matter of style, but also a matter of popular concepts and cultural popularization. [7] Yu's prose is a market miracle of today's cultural books. Under the general situation that various academic and cultural monographs are unsalable and lose money, Yu's prose has been reprinted and become one of the best sellers. Yu's prose can sell well, and pirated books can flock to it, which shows that it has many readers. The reader's choice also shows his success, which shows that it is meaningful at this point. In the last100th day of the 20th century, Hong Kong Phoenix Satellite TV specially invited it to travel tens of thousands of miles to inspect the most important cradles of human civilization. Walking all the way, writing all the way, the article is called "Autumn Diary-Millennium Tour". Later, this article was published in Beijing Evening News in serial form. The originality of this group of articles in "A Thousand Years' Journey" obviously originated from "Cultural Journey", but one is a domestic tour and the other is an international tour. Yu Xiansheng's lecture trip rushed out of the country and went to the world. The journey is farther and wider, from China to the land of cultural civilization of all mankind.

(3) Debate and criticism

The criticism of Mr. Yu's prose is also quite active, and the debate is also quite fierce, which has formed a hot spot in the cultural and academic circles that can be called residual phenomenon. In particular, there is a book called "Top Ten Writers' Criticism Book", which collects negative opinions on popular 10 writers. Among them, the one that criticized Yu was called Wandering in the Literary World with Cultural Lipstick. This book is advertised as "a riot and subversion of contemporary China literature, which overthrew those classic writers who gained improper fame". So the criticism inside is sharp. In addition, there is a book called Critique of Residual Phenomenon, which is a comment on Yu's prose. Both of them are available. The main purpose of this book is to provide readers with a cultural memorandum about the phenomenon after the 1990s.

Argument and criticism are normal and necessary. Yu's prose is not perfect, and some articles may still have some serious injuries. In a normal and positive evaluation, prose creation should be promoted to a higher level. Moreover, in the social transition period of diversified competition, it is also necessary for various cultural choices and cultural concepts to collide, blend and run in. Debate is conducive to the overall maturity and prosperity of cultural undertakings. Yu's prose can cause such an argument, which itself has far-reaching significance.