Many people present fell into deep thought after hearing this.

"Everyone may hear what I say is a bit mysterious, but let's talk about something practical. The practical function of literature is to speak well so that others can understand the truth you want to say and enjoy it at the same time.

In the past few years, our literature was very political. This view cannot be said to be wrong, because literature does have the ability to promote and guide public opinion, but it would be a bit extreme if literature only focused on politics.

But I think that literature can accommodate "Shajiabang", it can also accommodate "Historical Records", it can accommodate "Les Misérables", it can accommodate "Diary of a Madman", it can also accommodate "The Cause of Laughter" and

"The Legend of Shushan Swordsman"."

When Lin Chaoyang mentioned this, the faces of the surrounding students showed a bit of surprise.

The many works he mentioned just now cover ancient and modern times, both at home and abroad, and there is nothing wrong with them in themselves.

However, he compared "Shajiabang" with "The Cause of Laughter", "The Legend of Shushan Swordsman" and "Historical Records" and "Les Misérables", which really surprised everyone present.

Needless to say, "Shajiabang" is a model opera that was a specific product of the buzzing period. Nowadays, everyone shouts and beats a rat crossing the street.

"The Cause of Laughter" and "The Legend of Shushan Swordsman" were classified as popular literature after the founding of the People's Republic of China. They were sapted by the literary and art circles. Zhang Henshui and Li Shoumin were criticized to pieces even before the buzz was heard. The works they wrote with so much painstaking efforts were also criticized

Became DC.

Although the literary world has become brighter in recent years, the discrimination against popular literature is still deep-rooted.

"Comrade Chaoyang, I don't agree with some of the works you just mentioned.

Model operas at least have an aspect that is close to the working people, and have their own literary and ideological uniqueness. But what qualifications do such erotic works as "The Cause of Laughter" and "The Legend of Shushan Swordsman" have the qualifications to be called "literature"

'?"

When Lin Chaoyang paused, someone stood up and expressed dissatisfaction.

Lin Chaoyang knew very well that the other party's dissatisfaction represented not only himself, but also that there were many people present who had such thoughts.

His pause also deliberately left an opportunity for the other party, because he knew that when he talked about this, he would inevitably face criticism from some people who sublime literature.

Due to the sudden question, the originally relaxed and harmonious atmosphere of the symposium suddenly became more tense. All the students' attention was focused on Lin Chaoyang, curious about how he would answer.

Everyone saw Lin Chaoyang taking a sip of tea, looking calm and speaking slowly.

"This classmate's question just brings out what I want to talk about next - the interest of literature.

Over the years, when we mention some literary works, the word "low taste" always comes up.

What is low-level taste?

Some people say that the love between a man and a woman is vulgar taste.

Then I would like to ask, "Guan Guan Jiujiu, in the River Continent. My fair lady, a gentleman likes to be naughty." Is this considered to be in bad taste?

Cui Hao has a poem that says: Where is Jun's family? I live in Hengtang. I moved my boat to borrow it for a while, maybe I am from the same hometown. Is this considered to be in bad taste?

The great leader coined this word not for us to attack others, but for us to reflect on ourselves.

I secretly believe that vulgar taste in literature is despicable behavior in the name of nobleness.

Pan Renmei in "The Yang Family" and Pan Jinlian in "Water Margin" are victims of this kind of vulgar taste. When tracing the source, they are nothing more than fabrications made out of thin air by poor literati out of their own ugly psychology.

What you talk about is benevolence, righteousness and morality, but what you write down is that men are thieves and women are prostitutes. This is vulgar taste!"

Compared with the gentle breeze and drizzle before, Lin Chaoyang's face was serious at this time, and when he said the last sentence, his tone was sonorous and powerful.

His remarks can be said to be unconventional. No one has ever considered the level of literary interest from this perspective before.

If you carefully read what Lin Chaoyang said, you can probably sum it up in four words: the name is not worthy of the reality.

This is the "low taste in literature" that Lin Chaoyang despises.

His point of view is confusing at first glance. How can it be considered to be in bad taste if it is not worthy of the name?

Everyone looked at Lin Chaoyang with confusion, and he continued what he just said:

"I'll give you a few examples to help you understand my thoughts.

For example, detective stories. People are born with curiosity. Readers' love for detective stories comes from solving puzzles. This process of solving puzzles is the readers' pleasure. This process also includes the 'suspense and suspense' mentioned in our novels and dramas.

Sudden surprise'.

But my story is well told, and suddenly an emotional exchange between the male and female protagonists is interspersed at a key point in the plot. No matter how good the previous writing is, the readers will definitely be disappointed.

This is the evil consequence of vulgar taste.

Another example is the description of SQ. Literature expresses life, and love is a major proposition in life. In novels, it is natural for characters to express themselves when their love is strong.

But some writers are unrestrained in this type of description, or they pursue weirdness and sensory stimulation, which is also low-grade taste."

After citing two examples, Lin Chaoyang's tone softened.

"I give you an example to tell everyone. In creation, it is true that the author is the master of the world he writes about, but when the world takes shape, it has its own rules of operation. Even the author who created it cannot talk nonsense.

.

Works are born in the author's thoughts, but people's thoughts are complicated. The author must have the ability to examine himself and empathize with the readers.

If the emotions and thoughts expressed in the work are to be accurately conveyed to readers and moved by understanding, the author must guard his own thoughts.

The summary is that we must avoid moaning for no reason, posturing, being silly, being glib, shouting, being partisan and opposed to dissidents, practicing Taoism, making slogans and dogma, putting on makeup, and showing off.

Of course, the above ten points are just my personal understanding. It is inevitable that there will be some intolerance in one person’s opinion. Everyone is welcome to criticize and correct me.”

After all he had to say, Lin Chaoyang took a sip of tea again.

Only then did everyone react, and a burst of warm applause suddenly erupted in the cafeteria.

Lin Chaoyang spoke for half an hour, and everyone could feel that what he said was not empty talk, but the truth that was combined with his own thoughts, and that he spoke the truth with substance.

The students reflected on themselves and found that most of them think about how to conceive the story, how to write the characters vividly, and how to use precise words and sentences when creating.

No matter how much I think about what my novel should embody, expose, and criticize.

Looking back at Lin Chaoyang, it seems that no one among the people present has ever seriously thought about what he is thinking. Just thinking about the problem is not in one dimension.

It’s not unreasonable that people can write so many excellent and highly influential works.

Based on this alone, it is difficult for everyone not to admire Lin Chaoyang.

After the applause, Teacher Tang Yuqiu briefly summarized Lin Chaoyang's speech, and then the symposium entered the communication session between students and guests.

"If you have anything you want to talk to, you can feel free to say it," Tang Yuqiu encouraged the students.

Everyone present looked at each other, a little eager to try.

Chen Shixu, who had met Lin Chaoyang at the National Outstanding Short Story Award Ceremony, was the first to ask his question:

"Comrade Chaoyang, I have a question. I find that when we are thinking about writing, the most difficult thing is not to search for materials, but how to select and arrange them after we have them. In this regard, do you have any experience with me?

Shared?”

After listening to his question, Lin Chaoyang nodded, pondered for a moment and then spoke.

"I think everyone has encountered this question you raised more or less when creating.

British novelist Swift once said: The best words are at the best level. Finding the best words depends on selection, and finding the best level depends on arrangement.

This is like arranging the troops in formation, and with proper planning, one man can be in charge and can have the effect of preventing ten thousand men from defeating him.

We can infer that there are always two common problems with this kind of problem: not knowing the choice and not knowing the arrangement.

Stevenson said that literature is the art of tailoring, and tailoring means choice, and there must be trade-offs.

This precisely requires the author to maintain an objective and calm attitude, especially the ability to rigorous self-criticism. I have already explained this point just now, so I will not emphasize it again.

As for the arrangement, Aristotle discussed in "Poetics" that the dramatic structure must have integrity. We can give a definition of "completeness", that is, it must have a head, a body, and a tail, as we Chinese write

The theory of the article is about inheritance, transformation and integration.

Good writing must follow its internal rules and layout. If a piece of content is removed without harm to the whole text, it is just redundant. If it is moved and still has no harm to the whole text, it means that the layout of the entire article is not considered.

So what are the internal rules and layout? I think it can be a time sequence, a spatial sequence, or an emotional line, which has a lot to do with the content of the article.

Creation is a very personal process, and many things cannot be generalized. I don’t know if my words can answer your doubts.”

Chen Shixu felt very inspired after Lin Chaoyang gave some answers and quoted scriptures.

As the other party said, there is no way to generalize about creation. Being able to briefly answer his questions in just a few sentences shows that Lin Chaoyang is mature in creation, at least not something Chen Shixu can match.

"Does anyone else have questions?" Tang Yuqiu asked again.

Jin Ying raised her hand and asked: "Comrade Chaoyang, we have discussed the innovation of novel forms before in class, and our classmate Jia Dashan also wrote a stream of consciousness exercise..."

She said this and pretended to recite: "Straw hat, straw hat, straw hat, big straw hat, small straw hat, undulating straw hat, spinning straw hat, straw hat with shining sun..."

Her recitation did not continue because the people next to her were already laughing. Jia Dashan, the classmate who was joking, didn't take it seriously, but Tang Yuqiu had to interrupt her joke.

"Jin Ying, just ask questions. Why are you talking so much?"

Jin Ying was scolded, stopped joking, and asked: "'Stream of consciousness literature' is a very new concept for us. I read your "Lai Zi's Summer" and found that you have no understanding of this creative form.

I would like to ask you, what works have you read in this area?"

"The books I read should be familiar to everyone. Marcel Proust, William Faulkner, and Virginia Woolf are all works by these famous artists.

However, I would like to remind you that just now you said that you were discussing innovation in the form of novels. In fact, stream of consciousness literature is already an ‘old thing’ that is over 60 years old.

The foundation of novel creation is narrative, and form is just technique. Techniques do not matter whether they are new or old, as long as they are easy to use.
To be continued...