What are the characteristics of Zuo Biography in terms of narrative and writing?

The narrative art of Zuo Chuan is characterized by the following:Zuo Biography is good at narrative, good at writing people, and good at memorizing, and its achievements in the narrative art of ancient Chinese literature are mainly manifested in: diversified narrative techniques and wonderful detailed descriptions; The art of narrative between fiction and reality.

The characteristics of the narrative art of "Zuo Chuan" are: firstly, "Zuo Chuan" explains the whole process of the occurrence, development and outcome of events in chronological order, but the techniques of flashback, pre-order, retrospective and supplementary notes are also frequently used. Second, "Zuo Biography" often pays attention to the complete narration of the course and causal relationship of events.

Finally, the narrative of "Zuo Biography" has a lot of mystification, and there is also a certain amount of drama.

Features of the left pass:Zuo Biography is a serious history book, but there are many illusory descriptions of heavenly ghosts and gods, calamitous omens, witch history divination, and dreams. Historically, some researchers have criticized this, believing that "Zuo Chuan" is "false and false" and "good language is strange and easy to lead to inaccuracy".

However, from a literary point of view, these descriptions "are just borrowing the pen of fantasy to write strange things, so that the text is passed on and the facts are passed on", and objectively receive the narrative effect of intertwining the virtual and the real and adding color.

1. Diversity of narrative techniques.

As a chronicle, the plot structure of "Zuo Chuan" is mainly to chronologically explain the whole process of the occurrence, development and outcome of the event. There are 29 narrative techniques shared, and although the classification is a little cumbersome, it shows the diversity of narrative techniques in "Zuo Chuan".

2. Narrative integrity and drama.

The Left Biography is a historical work, but the author is sometimes like a storyteller, narrating events in a dramatic way. A large number of vivid dramatic plots make this work full of storytelling. Not only that, some of the narrative accounts in "Zuo Biography" are obviously not true records of historical facts, but are based on speculation or fiction.

3. Moralization and mystification tendencies in narratives.

The narrative of the causal relationship between events in Zuo Biography is often characterized by moralization and mystification, and there are often mysterious elements in the narrative. In the face of the fait accompli and the gains and losses of the words and deeds of historical figures, the author adds all kinds of mystified legends and stories to predict the outcome of the event and explain the cause and effect of the event according to the gains and losses of the words and deeds of the historical figures.

The general characteristics of the narrative of "Zuo Biography" are that it is good at describing complex social contradictions and historical events, and uses the technique of white drawing to narrate the origin and origin of the events. The basic characteristics of this white drawing technique can be summarized as follows: following a strict concept of time and space, the record of each event must explain the time, place and people involved in the event in a very concise text, and the narration of the event is carried out in the order of natural time; Pay attention to the whole process of the development of events, and describe the occurrence (cause), development (conflict) and outcome of each event in detail, especially the cause and effect; Describe the course of events or major scenes, less rendering and accentuation, often by recording the words and deeds of several of the characters, writing the process of the development of things, or writing a scene.

Although Zuo Biography is not a literary work, it can still be said to be China's first large-scale narrative work in a broad sense. Compared with any previous work, its narrative power shows an astonishing development. Many major historical events with complicated and varied ideas can be handled in an orderly and complicated manner.

The depiction of war is particularly well written.

The author is good at placing each battle in the context of the struggle for hegemony among major powers, and writes concisely and concisely about the distant and proximate causes of the war, the changes in the combination of relations between various countries, the pre-war planning, the confrontation process, and the impact of the war. This narrative ability is of great significance to both historical and literary works. And pay attention to the vivid and interesting story, often with a more detailed and vivid plot, to show the image of the characters.

Zuo Biography had a great influence on the writing style of the "Warring States Policy" and "Historical Records" in later generations, forming a tradition of combining literature and history.

Although Zuo Chuan is a historical work, it is different from the "Book of Shang" and "Spring and Autumn" in that it is "beautiful in rhyme and beautiful in style", and it is the most literary historical prose in the pre-Qin period. Its literary characteristics can be summarized as:

First, the literary cut and the storytelling of historical time.

Second, the portrayal of the character's personality is full of spirit and three-dimensionality.

Third, vivid descriptions of scenes and expressive details.

Fourth, he is good at writing diplomatic rhetoric, and he is rich and beautiful.

The achievements of Zuo Chuan in the portrayal of characters are unprecedented, and it is the first time in a pre-Qin work that it provides so many vivid and sensible characters and creates a basic method of depicting characters. Generally speaking, "Zuo Biography" is good at describing through specific accounts, writing people in the memoirs, and remembering things in the writers; When describing the deeds of people, special attention is paid to selecting the most representative examples; The character of the character is closely related to the political standards of the era ("etiquette") and is manifested in obvious ethical tendencies. These characteristics had a profound impact on later literary creation and people's aesthetic concepts.

Now let's take the death of Jin Gongzi Chong'er as an example to discuss the above three points. This article is the reason for the flight of Jin Gongzi Chong'er (Jin Gongzi Chong'er is also difficult, and the Jin people cut down Zhupucheng. The people of Pucheng want to fight, and they can't be heavy, saying:

Protect the life of the king's father and enjoy his life, so that he can win souls; Someone is a school, and Fei Mo is great. I'm running too. The different experiences of the exile in various countries, and how he solved a series of domestic problems after regaining power with the help of Qin, is fully described.

Through the editing of many events, it shows how Jin Gongzi Chong'er gradually grew into a generation of overlords.

It is not difficult to see that Chong'er's departure is actually a manifestation of his political immaturity. When Chong'er was about to go from Di to Qi, he said to his wife Ji Kui, who was married in Di: "Wait for me for twenty-five years, don't come to get it and then marry."

This is enough to see that Chong'er has the bearing of a politician. When they walked to the field like a lost dog and begged for food from the farmer in the field, but they got clods of soil, Chong'er was angry and wanted to whip the farmer, which shows that although Chong'er has the temperament of becoming a generation of overlords, his long-term pampering also makes him form a domineering temperament. When he arrived in the country of Qi, the country of Qi gave heavy ears generous treatment.

I don't know if it's because of the lack of comfort or other reasons, Chong'er's time in the Qi country is so long that his entourage can't bear it and wants to plot to escape. In the end, Chong'er was drunk by the conspiracy of his wife Jiang and the son and sent out of the Qi country, but after Chong'er woke up, he took Ge to expel the son. If Chong'er's actions are all because he is obsessed with the well-being of the Qi country, then there is still the idea of being lazy in his bones.

After Cao Gonggong's rude treatment, Zheng Wengong's cold reception, and Chong'er's conversation with the king of Chu when he arrived in Chu has begun to take on the style of the king of a country. As for the dialogue between the Qin State and the King of Qin, which is neither humble nor arrogant, it is already quite a hegemon.

The image of Chong'er in the death chapter of Jin Gongzi Chong'er is multi-faceted, showing the longitude and latitude of a generation of male masters, and at the same time, it also shows his character of greedy for peace and well-being. In addition to showing the main characters through the accumulation of events, "Zuo Biography" also highlights the typical side of some minor characters through individual events. For example, when he was in the Qin State, Qin Mu invited Chong'er to a banquet, and because his literary talent was not as good as Zhao Yuan, he offered to let Zhao Yuan follow.

This detail reflects the deep righteousness of the offender. And Zhao Yuan's words at the banquet fully demonstrated his outstanding diplomatic rhetoric. In addition, the women who emerged in the death of Jin Gongzi Chong'er also have their own characteristics, Ji Kui's forbearance, Jiang's calmness and decisiveness in letting Chong'er leave the Qi State, Huai Ying's neither humility nor arrogance, and a few pen and ink in the text are vividly expressed.