The trick to implementing this rule is to work hard on the word "nothing". You said "water fragrant flowers", not "weeds and poisonous weeds"; You didn't say "to eradicate poisonous weeds", you just encouraged the release of poisonous weeds and advocated their free spread. You said "people want to eat", not "people want revolution"; If you don't say that "man must make a revolution", you will give up the revolution and betray it, and you will advocate that landlords and capitalists make a comeback. You are a heinous counter-revolution. Isn't your ugly face obvious?
Another example is the "abstract method":
The magic of this method lies in cramping and pulling out bones, and pulling out non-existent ghosts from flesh and blood. When the old yellow wind blows in spring, you scold: "damn it, this spring!" " "So when you speak, give up the specific conditions and" abstract "this sentence. You are cursing the whole spring. You are dreaming of burning flowers and willows, cooking warblers and swallows, and letting the cold regain its moisture. As we all know, your evil intention is not Si Mazhao's heart?
The crimes of Lin Biao and Jiang Qing's Luo Gang revealed by Liu Zheng here are exactly what Lu Xun criticized as "Yin Zhi's suicide and sophistry". These remarks seem ridiculous now, but if you think about it carefully, you will find that they are all very common things and happened in absurd times. "But at that time, it was unreasonable, absurd, despicable and even hateful. But after doing this, I got used to it. Although it was in public, no one was surprised. Now give it a special mention and it will be moved. " [See Lu Xun's "On the Second Theory of Jieting, What is Irony"]. Many of Zheng Liu's essays adopt the method of "special mention", which achieves vivid and vivid effect. In Crushing and Worship, the author describes that some people are now "kneeling, pouting and muttering to themselves" in the face of the Buddha statue in heavy silence and cigarettes, but quite a few people once regarded the Buddha statue as "ghost" and shouted "burn" and "blow" and so on. Another example is the article ??χThese people only draw circles and do nothing. In their circle, "small things get bigger, big things get worse, no matter how big or small, they will be dragged down." The author hopes to "beat gongs and drums and fly these hateful circles out of the universe like lightning and never come back."
Liu Zheng's essays not only have a brand-new perspective, broad vision, jumping thinking and spicy satire, but also make breakthroughs and innovations in the form of essays. Liu Zheng said, "I won't say how to write essays." But I believe what Mr. Dongpo said. The general idea of that sentence is that writing is like running water. At first, it has no definite quality, and it often goes in where it should be done and ends where it should be done. Just like the old nursery talking about vegetables and the old farmer talking about crops, it is really a golden experience. Writing articles is bound by condoms, or copying others' condoms, or sticking to your own condoms. Falling behind is the taboo of articles, especially essays. Break out of the box, like idle clouds in the sky, roll freely, clear water comes out of the valley, and priorities go with the flow. It's delicious. Easier said than done, I have been suffering from condoms, and trying to break them is often self-defeating. However, I like endless and unconventional masterpieces, such as Zhuangzi in ancient times and Lu Xun's works today. There are different articles and different faces, and none of them are old faces you are tired of reading. I need that sentence in the Book of Songs: The mountain rises and the scenery stops. Although I can't reach it, my heart yearns for it. [For the language, see Liu Zheng's Postscript to the Collection of White Stones in Qingshui (Wenxin Publishing House, 1990 Edition)] Liu Zheng's essays often break out, opening and closing freely, with profound feelings and different articles. In his works, there are some absurd and real dramatic dialogues besides the traditional conventional format and writing methods which mainly focus on refutation and argumentation, such as Horse and Rider, White Horse is not a horse, Slamming Tiger, Woyuanmen, New Biography of South China, Wolong Talk and Ye Gong Cursing Dragon. The art of writing with inscriptions such as "Yuan You Party History Inscription", "Seating Post" and "Six Topics of Painting and Calligraphy"; There are absurd stories, such as dzi, Zhuang Zhou buying water, Tao Yuanming going to sea, a basket of crabs and hedgehog aria. There are stories about ghosts, such as Strange Tales from a Lonely Studio. There are short and meaningful essays, such as Three Random Thoughts and Bite Spring Collection. There are profound and accurate prose poems, such as Bubble of Thought, Sowing Valley, Listening to Tao, Carving Snake, Burning Rhino, Cutting Back, Holding Stones, etc. And poetic style, rhyme style, etc. , showing a variety of artistic forms and styles, showing the author's unique artistic personality. Liu Zheng's "ultra-wide brushwork is equal to a wild and unconstrained style, flying fairy play, investigating its changes and doing what it wants", which is really worthy of being a stylist.
Zheng Liu is especially good at writing new prose with absurd stories. He believes that "essays should be a cross between a tiger and a goat, and some things should be neither donkeys nor horses" (see Xie's "The Golden Age of Literature is also the Golden Age of Essays-Talking about Liu Zheng", and see Interview with Hundred Essays (Academy Press, 1989 edition). Therefore, in his works, the events of the ancients and the present are mixed together, and ghosts and animals appear, which is interesting and fascinating. The article "Buying Water in Zhuang Zhou" won the first prize of People's Daily. The author vividly used the allusions and characters in Zhuangzi to bring forth the new from "Watching Fish in the Bright Beams" and "Traveling in the Gully", giving it the connotation of the times: under the impact of the tide of commodity economy, scholar Zhuang Zhou abandoned his article to do business and wanted to raise fish to get rich. The author combines absurdity with seriousness, integrates history with reality, and satirizes the ugly phenomenon of abusing power for personal gain, driving up prices and getting rich out of thin air in the field of commodity circulation. At the end of the article, the author wrote: "Suddenly I heard a thunder, which seemed to be Yun Qi, and the shower that gave birth to everything would come. Zhuang Zhou jumped to his feet, knocked on the empty bucket and sang:' Autumn comes, all rivers run, and the river flows in the Jinghe River. "There is no dispute between the two cliffs ..." "Gan Lin's" Falling "and Zhuang Zhou's" Singing in an Empty Fight "have different meanings, which makes the theme of the sketch satirize unhealthy trends and profoundly show the difficulties of the general public. Although Liu Zheng's essays are very successful in art, he always thinks that "the vitality of essays lies in the keenness and profundity of thoughts", and he calls essays without profound opinions and passionate feelings "mollusks without thorns". Therefore, Liu Zheng's essays are not only innovative in art, but also alarming in thought. When Yan Xiu prefaced the series of Ten Essays in Jiangsu, he pointed out: "There are more than 10 million articles about officials' profiteering and short selling in anger, but Liu Zheng's Zhuangzhou Buying Water is so excellent and unique!"