Who can use Wang Zengqi s technique to describe the scene of white things? Quick answer, the number

Deng Zhongxiang sorted out "Wang Zengqi's Prose Reading Notes".

Wang Zengqi's prose reading notes [1].

That locust tree belongs to me alone. I knew all the good things about him and knew what kind of position that branch was suitable for. Clouds pass through the middle of the leaves.

Geckos crawl on grapes. The apricots are ripe. The vine of He Shou Wu climbed up the stalagmite, and the stalagmite was so dark.

A fly on a spider's web. What about spiders? Hua Tianniu ate a leaf for half a day, this leaf is a little sweet, so tender.

Where are gorse, how many bees! Wave - The goldfish spits out a bubble and bursts, and in the afternoon we go to fish for goldfish bugs. The yellow color of the citron pedicle seems to be a little hesitant, and the other is the flower falling down, and the citron flower falls when the citron flower falls, and the flower falls on the blade of grass, and the grass bows its head slightly and bounces up.

The essay "The Garden" is quite interesting to read, and the language is very lively. The depiction of the scenery is very good, although the text is printed on the paper, although the paper is flat, but what you see in front of you is three-dimensional, vivid, and alive. I felt that my hands could touch them, and the scenes created in "The Garden" appeared so realistically in front of my eyes, evoking the softest part of my heart, as if I was a child.

Wang Zengqi's works are alive, because his language is plain and life-like, and so are the things he describes, ordinary and small, but they condense a huge power that can move people's hearts. Wang Zengqi feels the happiness and warmth of life with his heart, and observes life closely. Born from life but higher than life.

Wang Zengqi's prose reading notes [2].

Hutongs are a network of avenues. It is very close to the downtown area, big brother soy sauce, about two catties of eggs or something, very convenient but seems to be far away. There's no traffic here, it's always quiet.

Occasionally, there is a "call to the head" of the shaving picker (like a large tweezer, which is rubbed through it with an iron rod, and it makes a popping sound); the "shocking boudoir" of sharpening scissors and knives (more than a dozen pieces of iron are worn together and shaken to make a sound); The sound of a blind fortune teller (now long gone) playing a piccolo. Far from being noisy, these sounds seem to be quieter in the alley.

The scenes in the hutongs described by Wang Zengqi are very vivid and real. The characteristics of the characters are very distinct, although there is only a short sentence to describe each character, but he grasps the details of the characters and captures the soul of the characters. Wang Zengqi's attention to customs reflects his love for the collective life and culture of the nation.

Wang Zengqi said in "Pickles and Culture": The culture we want to show in ** is first of all present and alive; The second is yesterday's, and the shortly gone. The reason is simple, because we can see it, we can touch it, we can taste it, and we can think about it.

As Wang Zengqi said: what he pursues is not profoundness, but harmony. He records his life in plain and honest language.

Gui Youguang's "writing about ordinary personnel with light writing" is also particularly admired by him. Wang Zeng's literary works show another possibility of modern Chinese writing, which is to draw nourishment from living traditions and living life.

Wang Zengqi, a native of Gaoyou, Jiangsu, was born on March 5, 1920. His grandfather was the "Bagong" (slightly higher than the "Xiucai") of the late Qing Dynasty. Wang Zengqi's father, Wang Jusheng (1897-1959), was a versatile gymnast, a soccer athlete who knew a lot of musical instruments, and also liked to raise birds.

The formation of Wang Zengqi's aesthetic consciousness is related to the fact that he watched his father's painting since he was a child; His father's easy-going and sympathetic nature had a great influence on Wang Zengqi's future creations. From 1939 to 1943, he studied at the Department of Chinese Literature of Southwest Associated University. After graduation, he taught in private middle schools in Kunming and Shanghai.

Later, he worked at the Beijing History Museum. After the peaceful liberation of Beiping, he went to Guangzhou and Wuhan with the People's Liberation Army Siye Southward Working Group, and finally returned to work in the Beijing Municipal Federation of Literary and Art Circles. In 1954, he was transferred to the Chinese Folklore Research Association.

From 1950 to 1958, he worked as a literary publication. He has edited "Beijing Literature and Art", "Rap and Sing", and "Folk Literature". In 1958, he was wrongly classified as a rightist and sent to the Shalingzi Institute of Agricultural Sciences in Zhangjiakou Prefecture as an agricultural worker, working for four years.

At the beginning of 1962, he was transferred to the Beijing Peking Opera Troupe.

Wang Zengqi began publishing works at the age of 20. When he was young, he was deeply influenced by Western modernism. In his later years, his works gradually became more and more substantial.

He advocated "returning to national tradition and returning to realism". However, he also advocated that realism should accommodate all kinds of schools and that national traditions should be able to absorb all foreign influences. At first glance, Wang Zengqi's ** does not seem to pay attention to the structure of the rules, but it is "the casualness of painstaking management", so his ** is called "scattered culture"**.

In terms of language, however, he attaches great importance to it. Wang Zengqi's language is clean and natural, and he asks himself to "don't say what you can".

Maupassant:

Simon's Daddy : 4 sheets of paper.

Miss Fei Fei: Six pieces of paper.

My Uncle Hule: 5 sheets of paper.

Dai Liye Spring Building: 11 sheets of paper.

Mark Twain: Million pounds: 11 sheets of paper.

Running for governor: 3 sheets of paper.

Dog's Readme: 5 sheets of paper.

And the Chinese one:

Wang Zengqi: Butter pancakes: 5 pieces of paper.

Ordained; 10 sheets of paper.

It's not enough for me to look for it again, because I'm looking for it at home, so I can only tell you the number of pages, sorry.

It's better for the landlord to write it himself. Mr. Wang Zengqi's prose is plain and vivid, and it is very appealing, and it can be written around this aspect.

No, the table of contents.

Self-Order: **Skills are often discussed.

Revenge chicken and duck master.

Winter Tsuiko. Lao Lu was ordained.

Three Chens in different hometowns.

Da Nao Chronicle. Eight-thousand-year-old silversmith.

Epiphany, cranes, and ghost fires.

Chicken feather daily rule. Butter pancakes.

Seven Mile Tea House. The August sun.

Talk about using clouds to make autumn lines.

Death of the swan. Live in peace for generations to come.

Qi Maoshun Jin Dongxin.

Ruiyun - Talking about the new meaning of Zhai.

Double lights - Liaozhai Xinyi camphor willow god.