The writing of "Romance of the Gods" on the Internet is often underestimated or even belittled, but when we study this work in depth and detail, it is not difficult to find the literary talent and ingenuity shown by the author.
It can be said that the author not only has a rich imagination and creates a fantasy world full of charm, but also performs quite well in the use of literary techniques, which makes the whole ** more vivid and interesting, full of fascinating charm.
Li Oufan proposed it in an academic lecture held at Peking University, "Western Learning from the East———utopian Imagination in Late Qing Literature".There are two basic conditions for imagination, one is to grasp and change the concept of time, and the other is to grasp and change the concept of space. ”---- quoted in [Li Oufan, "Western Studies Spread Eastward: Utopian Imagination in Late Qing Literature——— The Second Lecture of the Series of Lectures on the Relationship between Chinese and Western Cultures and Modern Chinese Literature", Kanto Academic Journal, 2018, No. 2, pp. 54-55].
The war scenes in the Ming Dynasty gods and demons** "Romance of the Gods" show a wide span of locations, relying solely on ancient means of transportation such as carriages and horses, it is obviously difficult to present the kind of magnificent and magnificent scenes depicted in **.
Romance of the Gods" character map.
The setting of the flying world solves this problem just right, allowing readers to gallop freely in the space of imagination, cross the constraints of physics, and feel a magnificence and magic beyond reality.
The beginning of "The Romance of the Gods" is fascinating, depicting Yun Zhongzi observing the demonic mist over Chaoge at Zhongnan Mountain. He skillfully made a wooden sword from pine branches, stepped on auspicious clouds, and arrived at Chaoge in an instant.
The word "five lakes and four seas" in the poem shows the vastness of the flight of cloud neutrons, and his thinking and imagination are all-encompassing. And the word "Xu" directly highlights the speed at which he changes scenes, which is breathtaking.
Although the plot later revealed that Daji designed to remove the pine branches given by Yun Zhongzi, so that the trip did not have a substantial effect, Yun Zhongzi's flight injected suspense and twists into the whole ** plot, making the story more exciting.
In the subsequent episode, Wen Taishi rode the ink unicorn around the world, and arrived at Jiulong Island in the West Sea in an instant, inviting the four kings and demons to return to the court to help the battle;
Wen Taishi, the network map you are looking for.
Zhao Gongming used the sigil to control the black tiger, and came to the Chengtang camp in an instant;
Zhao Gongming and Black Tiger, looking for the network map.
Yang Ren even rode on the Yunxia Beast, and arrived at Tongguan in a blink of an eye.
Yang Ren rode the Yunxia Beast and found the network map.
These flight scenes not only show the magnificence and strangeness of the flying world itself, but also quickly bring readers to the next scene and link through the rapid transformation of location and time and space.
The word "instantaneous" appears many times in the original text, highlighting the author's ingenious use of time-shifting without boundaries and processes.
This kind of non-procrastinating plot description makes the writing more smooth and natural, and it is easier to arouse the reader's empathy and immersion.
In the creation of gods and demons**, the rapid transformation of place and time and space is undoubtedly an important narrative technique.
Whether it is the somersault cloud of the Monkey King in "Journey to the West" or the winged man in "Mirror Flowers", the scene is quickly switched by flying, which makes the storyline more compact and smooth.
Sun Wukong's somersault cloud.
The existence of the flying world undoubtedly adds a lot of color to these ** texts, and also brings readers a more colorful imagination space.
Chen Yuanzhi of the Ming Dynasty exquisitely expounded the relationship between literary works and reality in the "Preface to Journey to the West": "He thought that the turbid world could not be used in Zhuang language, so he entrusted the snake to the floating world. The snake can't be taught, so the subtle words are reasonable. The words of the Tao cannot be vulgar, so the waves laugh and abuse to be wanton. Laughter cannot be seen in the world, so lingering analogies to make the meaning clear. So his words were uneven and treacherous, absurd, and gratuitous, and Tan Yan was subtle, with the heart of the author, the meaning of arrogance, and the husband was indispensable. ”The birth of gods and demons is not only the evolution of gods and ghosts, but the author's use of seemingly absurd, witty and humorous brushwork to expose and criticize reality, and at the same time entrust the yearning for an ideal life.
Therefore, the shaping of the flying world is not just a fiction, but contains a profound meaning.
It can be seen that the writing structure of "Romance of the Gods" is actually exquisite, far from the "pale literary style" as the Internet says.
It can be said that this work not only shows the author's rich imagination and outstanding literary talent, but also conveys a profound social meaning and the pursuit of an ideal life through its unique literary techniques.
We should face up to the literary value of "Romance of the Gods", rather than blindly belittle. Through in-depth reading and rational thinking, we can better appreciate the charm of this classic work and draw wisdom and inspiration from it.
Romance of the Gods