Difference between revisions of "Uvu/index.php/User:Ling Xiaoyao"
Ling Xiaoyao (talk | contribs) |
Ling Xiaoyao (talk | contribs) |
||
| Line 8: | Line 8: | ||
====The Introduction of the Author Lao She==== | ====The Introduction of the Author Lao She==== | ||
| − | Shu Qingchun, known by his pen name Lao She, was a Chinese writer of Manchu ethnicity. A prominent modern Chinese novelist, essayist, and playwright, he is widely regarded as a representative figure of modern Chinese literature. His representative works include the novels Rickshaw Boy (Camel Xiangzi) and Four Generations Under One Roof, as well as the play Teahouse.Born on February 3, 1899, into a poor Manchu family in Beijing, Lao She graduated from the Beijing Normal University in 1918. He subsequently served as a primary school principal and an educational inspector. In 1924, recommended by colleagues, he traveled to London to serve as a lecturer in Chinese at the School of Oriental Studies (now SOAS), University of London. During this period, he wrote The Philosophy of Lao Zhang and Mr. Ma and Son, marking the true beginning of his literary career.In December 1951, due to the immense social impact of his play Dragon Beard Ditch, he was awarded the title of "People's Artist" by the Beijing Municipal People's Government.In the infamous "August 23 Incident," he was forced to kneel and was brutally beaten. The following day, he committed suicide by drowning himself in Taiping Lake. | + | Shu Qingchun, known by his pen name Lao She, was a Chinese writer of Manchu ethnicity. A prominent modern Chinese novelist, essayist, and playwright, he is widely regarded as a representative figure of modern Chinese literature. His representative works include the novels Rickshaw Boy (Camel Xiangzi) and Four Generations Under One Roof, as well as the play Teahouse.Born on February 3, 1899, into a poor Manchu family in Beijing, Lao She graduated from the Beijing Normal University in 1918. He subsequently served as a primary school principal and an educational inspector. In 1924, recommended by colleagues, he traveled to London to serve as a lecturer in Chinese at the School of Oriental Studies (now SOAS), University of London. During this period, he wrote The Philosophy of Lao Zhang and Mr. Ma and Son, marking the true beginning of his literary career.In December 1951, due to the immense social impact of his play Dragon Beard Ditch, he was awarded the title of "People's Artist" by the Beijing Municipal People's Government.In the infamous "August 23 Incident," he was forced to kneel and was brutally beaten. The following day, he committed suicide by drowning himself in Taiping Lake.(Wiki,Lao She) |
| − | ====The Origin and | + | ====The Origin and Content of The Quest for Love of Lao Lee==== |
| − | The publication of this book actually stemmed from a farce involving Modern magazine and the Liangyou Publishing Company. After missing out on the publishing rights for Cat Country, Liangyou was in desperate need of a new book to publish. Under these "urgent" circumstances, Lao She reluctantly agreed to the task.Before writing The Quest for Love of Lao Lee, Lao She did not have a central idea that could naturally evolve into such a story; the concept appeared almost instantaneously and took shape immediately. Even before organizing the specific content, Lao She decided on a humorous writing style. Lao She’s writing process was often adventurous—he would discover new facts as he wrote. Even when he had a central theme in mind, he often digressed because of the characters or plot shifts. However, while writing Divorce, he was determined to "tether" his characters to a fixed point. This determination highlights the significant importance Lao She placed on this particular novel. The novel centers on the theme of divorce, depicting the marital crises and domestic disputes of several clerks working at a financial office in Beiping. This book contains no earth-shattering events; instead, it is filled with the petty squabbles of the "Xiao Shimin" (urban commoners). The story features a cast of characters including: Big Brother Chang, Lao Lee, Old Chen, Old Qiu, Old Wu, Small Chao, Mrs. Li, Mrs. Chang, Mrs. Chen, Mrs. Qiu, Mrs. Wu, and the young daughter-in-law of the Ma family. | + | The publication of this book actually stemmed from a farce involving Modern magazine and the Liangyou Publishing Company. After missing out on the publishing rights for Cat Country, Liangyou was in desperate need of a new book to publish. Under these "urgent" circumstances, Lao She reluctantly agreed to the task.Before writing The Quest for Love of Lao Lee, Lao She did not have a central idea that could naturally evolve into such a story; the concept appeared almost instantaneously and took shape immediately. (Lao She,1990)Even before organizing the specific content, Lao She decided on a humorous writing style. Lao She’s writing process was often adventurous—he would discover new facts as he wrote. Even when he had a central theme in mind, he often digressed because of the characters or plot shifts. However, while writing Divorce, he was determined to "tether" his characters to a fixed point. This determination highlights the significant importance Lao She placed on this particular novel. The novel centers on the theme of divorce, depicting the marital crises and domestic disputes of several clerks working at a financial office in Beiping. This book contains no earth-shattering events; instead, it is filled with the petty squabbles of the "Xiao Shimin" (urban commoners). The story features a cast of characters including: Big Brother Chang, Lao Lee, Old Chen, Old Qiu, Old Wu, Small Chao, Mrs. Li, Mrs. Chang, Mrs. Chen, Mrs. Qiu, Mrs. Wu, and the young daughter-in-law of the Ma family. |
====Analysis of Major Charactors==== | ====Analysis of Major Charactors==== | ||
| − | Lao Lee: Lao Lee is a man of extensive reading but slightly stubborn. He is inarticulate and constantly appears stiff and ill-at-ease. He finds himself utterly indifferent to the trivial gossips, domestic squabbles, and petty intrigues of the world. While his mind is a whirlpool of "excessive thoughts," his mouth fails to utter a single word. He is a man consumed by internal contradictions—locked in a perpetual struggle with himself—unable to give up traditional moral codes, yet incapable of mastering the "games" of society. On the surface, he seems even-tempered, but internally, his rage burns hotter than anyone’s. His life is defined by rigidity, despondency, honesty, and a sense of pathetic helplessness; he lives with a certain | + | Lao Lee: Lao Lee is a man of extensive reading but slightly stubborn. He is inarticulate and constantly appears stiff and ill-at-ease. He finds himself utterly indifferent to the trivial gossips, domestic squabbles, and petty intrigues of the world. While his mind is a whirlpool of "excessive thoughts," his mouth fails to utter a single word. He is a man consumed by internal contradictions—locked in a perpetual struggle with himself—unable to give up traditional moral codes, yet incapable of mastering the "games" of society. On the surface, he seems even-tempered, but internally, his rage burns hotter than anyone’s. His life is defined by rigidity, despondency, honesty, and a sense of pathetic helplessness; he lives with a certain other-worldly detachment, serving as a symbol of existential angst. Lao Lee’s thoughts fluctuate between the meticulous and the coarse, just as his personality shifts between softness and hardness. He is no madman, but these contradictions prevent him from ever achieving social prominence. While he is willing to settle for the bare minimum regarding material comforts, he refuses to compromise on his choice of career or friends. He uses a passive acceptance of poverty to balance out the "active advancement" he so deeply disdains, seeking nothing from others. Because he views the world with a cold, detached eye, he possesses a sense of humor. He is aware of his own contradictions and can see the inherent absurdities of the world. Thus, his cynical remarks carry a double-layered bitterness: one for himself, and one for the world at large. As Lao She put it in this book:“I don’t care about love. What I’m after is poetic ideas. Family, society, one’s nation, the world, are all so down to earth, and so unpoetic. Most women, married and unmarried, are ordinary—maybe even more ordinary than men. I want, even if I could only look at her, a girl not yet spoiled by the lessons of reality, passionate as a poem, delightful as a symphony, pure and chaste like an angel from Heaven. Maybe I am crazy. But my craziness is that if I know myself at all, I am the kind of person who would rather dream than be romantic. I know the world is dark and gloomy, but I hope for immediate peace. I know that life is short, but I dream of eternity, without allowing myself to be superstitious but always hoping to be a mystic. My craziness is the kind which is made up of these indescribable elements. You probably think that all my words are just a waste of time.”(Henela Kuo,1948) |
| − | Big Brother Chang: Lao She introduces Big Brother Chang’s character in the very first sentence of the novel with striking clarity: So terrific was Chang’s passion for Big-Brotherliness that you would think that he expected even his own father to call him Big Brother. Lao Chang is a devoted matchmaker who staunchly opposes divorce and | + | Big Brother Chang: Lao She introduces Big Brother Chang’s character in the very first sentence of the novel with striking clarity: "So terrific was Chang’s passion for Big-Brotherliness that you would think that he expected even his own father to call him Big Brother".(Lao She,1981) Lao Chang is a devoted matchmaker who staunchly opposes divorce and free love. In his eyes, men and women are like equal weights on a scale; only when the weights are perfectly balanced does it count as a "top-tier marriage." For example, if a woman has pockmarks on her face, Lao Chang will seek out a husband for her who stutters or is nearsighted. Big Brother Chang is the ultimate "information hub"—there is nothing in Beiping he doesn't know. He is a master of flattery and a social chameleon who can navigate any situation with ease. His vast life experience allows him to move comfortably through all social circles; he knows everyone and can handle everything. Big Brother Chang is genuinely warm-hearted. Upon hearing that his colleague Lao Lee is facing a "divorce crisis," he immediately invites him to dinner. He has no patience for Lao Lee’s yearning for "poetic romance" in marriage. Instead, Big Brother Chang believes Lao Lee’s primary duty is to bring his wife and children from the countryside to the city, "educate" his wife, care for his kids, and focus on being a dutiful civil servant. His helpfulness is never just for show. He doesn't just offer advice; he physically helps Lao Lee find a well-located house, fix the roof and mend the windows himself. However, Big Brother Chang is also a man who disregards the distinction between right and wrong. In the novel, the husband of "Second Sister" is arrested for practicing medicine without a license. Fearing that a divorce would ruin his own reputation as their matchmaker—and adhering to the proverb "Better to destroy a temple than to break up a marriage"—Big Brother Chang uses his social connections (Renqing) to bail the man out. He then instructs the husband to use similar "favors" to bribe his way into getting a medical license. Through Lao Lee’s perspective, Lao She offers a biting critique of this behavior: "These 'stop-gap' solutions seem only to serve in maintaining the darkness of society."(Lao She,1981) |
| − | Small Chao: Small Chao is an absolute villain—arrogant, supercilious, and a man who exploits his "connections" (Guanxi) to commit all manner of misdeeds. He seizes every possible opportunity to humiliate "outsiders" or those he deems socially inferior. A prime example occurs when Lao Lee’s wife first arrives in the city. Under the guise of a welcoming gesture, he exerts his full capacity for humiliation. As described in the text: "Mrs. Lee sat down because everyone else was sitting. Small Chao pulled her chair out from behind, farther and farther away from her. Mrs. Lee wasn’t looking and almost fell down." Small Chao never misses a chance to exploit others in their moments of desperation. When Big Brother Chang’s son, Tianzhen, is wrongfully imprisoned as a suspected revolutionary, the usually well-connected Big Brother Chang finds himself powerless despite exhausting all his favors. Forced to beg Small Chao for help, he is met with a predatory demand: Small Chao agrees to save the son only on the condition that Big Brother Chang gives him his daughter’s hand in marriage. A significant portion of Small Chao’s villainy is what we might today call "malicious aggression"—evil that seems to have no specific aim other than the suffering of others. Someone frequently goes out of his way to create difficulties for his colleagues, intentionally putting them in embarrassing or impossible situations just to watch them squirm. | + | Small Chao: Small Chao is an absolute villain—arrogant, supercilious, and a man who exploits his "connections" (Guanxi) to commit all manner of misdeeds. He seizes every possible opportunity to humiliate "outsiders" or those he deems socially inferior. A prime example occurs when Lao Lee’s wife first arrives in the city. Under the guise of a welcoming gesture, he exerts his full capacity for humiliation. As described in the text: "Mrs. Lee sat down because everyone else was sitting. Small Chao pulled her chair out from behind, farther and farther away from her. Mrs. Lee wasn’t looking and almost fell down."(Henala Kuo,1948) Small Chao never misses a chance to exploit others in their moments of desperation. When Big Brother Chang’s son, Tianzhen, is wrongfully imprisoned as a suspected revolutionary, the usually well-connected Big Brother Chang finds himself powerless despite exhausting all his favors. Forced to beg Small Chao for help, he is met with a predatory demand: Small Chao agrees to save the son only on the condition that Big Brother Chang gives him his daughter’s hand in marriage. A significant portion of Small Chao’s villainy is what we might today call "malicious aggression"—evil that seems to have no specific aim other than the suffering of others. Someone frequently goes out of his way to create difficulties for his colleagues, intentionally putting them in embarrassing or impossible situations just to watch them squirm. |
====The language with a distinctive Beijing Vernacular Flavor==== | ====The language with a distinctive Beijing Vernacular Flavor==== | ||
| − | "Lao She was an outstanding master of language. In the use of vibrant, pure Beijing vernacular for literary and dramatic creation, he stands unrivaled among modern Chinese writers." Beijing was the wellspring of Lao She’s creative work. He spent the majority of his life in the city, and his childhood experience of listening to oral storytelling at Tianqiao provided him with an abundance of material for his writing. In his A Self-Account of Three Years of Writing, Lao She wrote:"I was born in Beiping; its people, events, scenery, and flavors, along with the rhythmic cries of vendors selling sour plum soup and apricot tea, are all intimately familiar to me. As soon as I close my eyes, my Beiping emerges complete, standing in my heart like a vivid, colorful painting. I dare to depict it boldly. It is a clear stream; every time I reach in my hand, I catch a lively, splashing fish."The Beijing vernacular in the novel The Quest for Love of Lao Lee is beyond count. For example: 子儿、紫里套青、脱鸭鸭、打联联、瞎掰、砸匾、发整、两搀儿、亮儿、准稿子. These authentic expressions make for a delightful read and vividly portray the daily lives of the city's residents. | + | "Lao She was an outstanding master of language. In the use of vibrant, pure Beijing vernacular for literary and dramatic creation, he stands unrivaled among modern Chinese writers." (Hong&Ke,1993)Beijing was the wellspring of Lao She’s creative work. He spent the majority of his life in the city, and his childhood experience of listening to oral storytelling at Tianqiao provided him with an abundance of material for his writing. In his A Self-Account of Three Years of Writing, Lao She wrote:"I was born in Beiping; its people, events, scenery, and flavors, along with the rhythmic cries of vendors selling sour plum soup and apricot tea, are all intimately familiar to me. As soon as I close my eyes, my Beiping emerges complete, standing in my heart like a vivid, colorful painting. I dare to depict it boldly. It is a clear stream; every time I reach in my hand, I catch a lively, splashing fish."(Lao She,1990)The Beijing vernacular in the novel The Quest for Love of Lao Lee is beyond count. For example: 子儿、紫里套青、脱鸭鸭、打联联、瞎掰、砸匾、发整、两搀儿、亮儿、准稿子. These authentic expressions make for a delightful read and vividly portray the daily lives of the city's residents. |
| + | |||
| + | ====Reflection==== | ||
| + | |||
| + | Although this book appears to deal with trivialities,it resonates powerfully with contemporary readers. Beyond the eternal struggle of "seeking understanding and longing to escape inner angst and worldly vulgarity," readers can identify several strikingly modern themes within the novel: workplace politics, privacy invasion,NEET, marital conflicts,gender equality, regional discrimination. It is shocking that the issues described nearly 100 years ago have undergone no fundamental change. Melancholy, perfunctoriness, philistinism, weakness, and nervous tension continue to run rampant in today's society. The novel suggests that only by steadfastly maintaining one's inner purity and moral faith can one become a hero capable of triumphing over the "banality of evil" inherent in a mediocre world. The value confusion of a transitional period and the "slight ripples in stagnant water" following the ebbing tide of the Cultural Revolution constitute the dazedness of the era. For a significant portion of young people who possess an idealistic temperament yet lack the capacity for action, the discrepancy between the principles learned from books and the reality of the world often results in a spiritual "dazedness" as they leave school and enter society. | ||
| + | |||
| + | ===Terms and Expressions=== | ||
| + | |||
| + | Manchu ethnicity 满族 | ||
| + | |||
| + | in desperate need of 急需 | ||
Revision as of 10:15, 21 December 2025
Hello everyone, my name is Ling Xiaoyao, and I’m from Ziyang, Sichuan Province. I’m a new student of English Translation. In my spare time, I enjoy exciting activities like hiking and mountain climbing. I hope we can get along well and I’d appreciate your support in my upcoming academic and campus life.
Final Paper
Modern Literature: The Quest for Love of Lao Lee
The Introduction of the Author Lao She
Shu Qingchun, known by his pen name Lao She, was a Chinese writer of Manchu ethnicity. A prominent modern Chinese novelist, essayist, and playwright, he is widely regarded as a representative figure of modern Chinese literature. His representative works include the novels Rickshaw Boy (Camel Xiangzi) and Four Generations Under One Roof, as well as the play Teahouse.Born on February 3, 1899, into a poor Manchu family in Beijing, Lao She graduated from the Beijing Normal University in 1918. He subsequently served as a primary school principal and an educational inspector. In 1924, recommended by colleagues, he traveled to London to serve as a lecturer in Chinese at the School of Oriental Studies (now SOAS), University of London. During this period, he wrote The Philosophy of Lao Zhang and Mr. Ma and Son, marking the true beginning of his literary career.In December 1951, due to the immense social impact of his play Dragon Beard Ditch, he was awarded the title of "People's Artist" by the Beijing Municipal People's Government.In the infamous "August 23 Incident," he was forced to kneel and was brutally beaten. The following day, he committed suicide by drowning himself in Taiping Lake.(Wiki,Lao She)
The Origin and Content of The Quest for Love of Lao Lee
The publication of this book actually stemmed from a farce involving Modern magazine and the Liangyou Publishing Company. After missing out on the publishing rights for Cat Country, Liangyou was in desperate need of a new book to publish. Under these "urgent" circumstances, Lao She reluctantly agreed to the task.Before writing The Quest for Love of Lao Lee, Lao She did not have a central idea that could naturally evolve into such a story; the concept appeared almost instantaneously and took shape immediately. (Lao She,1990)Even before organizing the specific content, Lao She decided on a humorous writing style. Lao She’s writing process was often adventurous—he would discover new facts as he wrote. Even when he had a central theme in mind, he often digressed because of the characters or plot shifts. However, while writing Divorce, he was determined to "tether" his characters to a fixed point. This determination highlights the significant importance Lao She placed on this particular novel. The novel centers on the theme of divorce, depicting the marital crises and domestic disputes of several clerks working at a financial office in Beiping. This book contains no earth-shattering events; instead, it is filled with the petty squabbles of the "Xiao Shimin" (urban commoners). The story features a cast of characters including: Big Brother Chang, Lao Lee, Old Chen, Old Qiu, Old Wu, Small Chao, Mrs. Li, Mrs. Chang, Mrs. Chen, Mrs. Qiu, Mrs. Wu, and the young daughter-in-law of the Ma family.
Analysis of Major Charactors
Lao Lee: Lao Lee is a man of extensive reading but slightly stubborn. He is inarticulate and constantly appears stiff and ill-at-ease. He finds himself utterly indifferent to the trivial gossips, domestic squabbles, and petty intrigues of the world. While his mind is a whirlpool of "excessive thoughts," his mouth fails to utter a single word. He is a man consumed by internal contradictions—locked in a perpetual struggle with himself—unable to give up traditional moral codes, yet incapable of mastering the "games" of society. On the surface, he seems even-tempered, but internally, his rage burns hotter than anyone’s. His life is defined by rigidity, despondency, honesty, and a sense of pathetic helplessness; he lives with a certain other-worldly detachment, serving as a symbol of existential angst. Lao Lee’s thoughts fluctuate between the meticulous and the coarse, just as his personality shifts between softness and hardness. He is no madman, but these contradictions prevent him from ever achieving social prominence. While he is willing to settle for the bare minimum regarding material comforts, he refuses to compromise on his choice of career or friends. He uses a passive acceptance of poverty to balance out the "active advancement" he so deeply disdains, seeking nothing from others. Because he views the world with a cold, detached eye, he possesses a sense of humor. He is aware of his own contradictions and can see the inherent absurdities of the world. Thus, his cynical remarks carry a double-layered bitterness: one for himself, and one for the world at large. As Lao She put it in this book:“I don’t care about love. What I’m after is poetic ideas. Family, society, one’s nation, the world, are all so down to earth, and so unpoetic. Most women, married and unmarried, are ordinary—maybe even more ordinary than men. I want, even if I could only look at her, a girl not yet spoiled by the lessons of reality, passionate as a poem, delightful as a symphony, pure and chaste like an angel from Heaven. Maybe I am crazy. But my craziness is that if I know myself at all, I am the kind of person who would rather dream than be romantic. I know the world is dark and gloomy, but I hope for immediate peace. I know that life is short, but I dream of eternity, without allowing myself to be superstitious but always hoping to be a mystic. My craziness is the kind which is made up of these indescribable elements. You probably think that all my words are just a waste of time.”(Henela Kuo,1948)
Big Brother Chang: Lao She introduces Big Brother Chang’s character in the very first sentence of the novel with striking clarity: "So terrific was Chang’s passion for Big-Brotherliness that you would think that he expected even his own father to call him Big Brother".(Lao She,1981) Lao Chang is a devoted matchmaker who staunchly opposes divorce and free love. In his eyes, men and women are like equal weights on a scale; only when the weights are perfectly balanced does it count as a "top-tier marriage." For example, if a woman has pockmarks on her face, Lao Chang will seek out a husband for her who stutters or is nearsighted. Big Brother Chang is the ultimate "information hub"—there is nothing in Beiping he doesn't know. He is a master of flattery and a social chameleon who can navigate any situation with ease. His vast life experience allows him to move comfortably through all social circles; he knows everyone and can handle everything. Big Brother Chang is genuinely warm-hearted. Upon hearing that his colleague Lao Lee is facing a "divorce crisis," he immediately invites him to dinner. He has no patience for Lao Lee’s yearning for "poetic romance" in marriage. Instead, Big Brother Chang believes Lao Lee’s primary duty is to bring his wife and children from the countryside to the city, "educate" his wife, care for his kids, and focus on being a dutiful civil servant. His helpfulness is never just for show. He doesn't just offer advice; he physically helps Lao Lee find a well-located house, fix the roof and mend the windows himself. However, Big Brother Chang is also a man who disregards the distinction between right and wrong. In the novel, the husband of "Second Sister" is arrested for practicing medicine without a license. Fearing that a divorce would ruin his own reputation as their matchmaker—and adhering to the proverb "Better to destroy a temple than to break up a marriage"—Big Brother Chang uses his social connections (Renqing) to bail the man out. He then instructs the husband to use similar "favors" to bribe his way into getting a medical license. Through Lao Lee’s perspective, Lao She offers a biting critique of this behavior: "These 'stop-gap' solutions seem only to serve in maintaining the darkness of society."(Lao She,1981)
Small Chao: Small Chao is an absolute villain—arrogant, supercilious, and a man who exploits his "connections" (Guanxi) to commit all manner of misdeeds. He seizes every possible opportunity to humiliate "outsiders" or those he deems socially inferior. A prime example occurs when Lao Lee’s wife first arrives in the city. Under the guise of a welcoming gesture, he exerts his full capacity for humiliation. As described in the text: "Mrs. Lee sat down because everyone else was sitting. Small Chao pulled her chair out from behind, farther and farther away from her. Mrs. Lee wasn’t looking and almost fell down."(Henala Kuo,1948) Small Chao never misses a chance to exploit others in their moments of desperation. When Big Brother Chang’s son, Tianzhen, is wrongfully imprisoned as a suspected revolutionary, the usually well-connected Big Brother Chang finds himself powerless despite exhausting all his favors. Forced to beg Small Chao for help, he is met with a predatory demand: Small Chao agrees to save the son only on the condition that Big Brother Chang gives him his daughter’s hand in marriage. A significant portion of Small Chao’s villainy is what we might today call "malicious aggression"—evil that seems to have no specific aim other than the suffering of others. Someone frequently goes out of his way to create difficulties for his colleagues, intentionally putting them in embarrassing or impossible situations just to watch them squirm.
The language with a distinctive Beijing Vernacular Flavor
"Lao She was an outstanding master of language. In the use of vibrant, pure Beijing vernacular for literary and dramatic creation, he stands unrivaled among modern Chinese writers." (Hong&Ke,1993)Beijing was the wellspring of Lao She’s creative work. He spent the majority of his life in the city, and his childhood experience of listening to oral storytelling at Tianqiao provided him with an abundance of material for his writing. In his A Self-Account of Three Years of Writing, Lao She wrote:"I was born in Beiping; its people, events, scenery, and flavors, along with the rhythmic cries of vendors selling sour plum soup and apricot tea, are all intimately familiar to me. As soon as I close my eyes, my Beiping emerges complete, standing in my heart like a vivid, colorful painting. I dare to depict it boldly. It is a clear stream; every time I reach in my hand, I catch a lively, splashing fish."(Lao She,1990)The Beijing vernacular in the novel The Quest for Love of Lao Lee is beyond count. For example: 子儿、紫里套青、脱鸭鸭、打联联、瞎掰、砸匾、发整、两搀儿、亮儿、准稿子. These authentic expressions make for a delightful read and vividly portray the daily lives of the city's residents.
Reflection
Although this book appears to deal with trivialities,it resonates powerfully with contemporary readers. Beyond the eternal struggle of "seeking understanding and longing to escape inner angst and worldly vulgarity," readers can identify several strikingly modern themes within the novel: workplace politics, privacy invasion,NEET, marital conflicts,gender equality, regional discrimination. It is shocking that the issues described nearly 100 years ago have undergone no fundamental change. Melancholy, perfunctoriness, philistinism, weakness, and nervous tension continue to run rampant in today's society. The novel suggests that only by steadfastly maintaining one's inner purity and moral faith can one become a hero capable of triumphing over the "banality of evil" inherent in a mediocre world. The value confusion of a transitional period and the "slight ripples in stagnant water" following the ebbing tide of the Cultural Revolution constitute the dazedness of the era. For a significant portion of young people who possess an idealistic temperament yet lack the capacity for action, the discrepancy between the principles learned from books and the reality of the world often results in a spiritual "dazedness" as they leave school and enter society.
Terms and Expressions
Manchu ethnicity 满族
in desperate need of 急需