The concrete manifestation of the profound humanitarian feelings contained in DJI's literature is that although life is absurd, we can't forget our responsibility and dignity.
In the story "The Football Team in the First Year of Wanyan", although Genmi Saburo's life philosophy is completely opposite, even contradictory, he is in the same boat in terms of mental crisis and pain, and he is also knowledgeable in finding a foothold in life and his desire to find himself. After returning to his hometown, Ying Si's series of actions are his tenacious exploration of spiritual hell. After telling the truth, Ying Si's suicide led him to a new life by destroying his old self. It was Ying Si's death that touched the three generations of Lang, which made him see the meaning of "life" that Ying Si struggled despite the extreme pain in his heart, which was in sharp contrast with his own weakness in Confucianism, and also made him understand the truth that a person's greatest enemy and the most difficult obstacle to eliminate was himself. So he decided to take back his idiot from the nursery, let his wife give birth to Ying Si's children, and go out of the forest depression to accept a job in Africa and start a new life.
From the end of Ying Si's life, San Dailang wanted to be a man who dared to face misfortune and tried to surpass it like Ying Si. Thus, the theme of human regeneration has been fully revealed. In Dajiang literature, those texts that express the absurdity of life, but don't forget the responsibility and dignity of life, and let the protagonist finally move towards the road of "regeneration" are collectively called "regenerative prototype" narrative texts.
Deep grammatical structure
The characters in the story can be divided as follows:
1, the protagonist-Mi Saburo;
2. Object-disabled children (abandoned babies);
3. Messenger 1- Mi Saburo, Messenger 2- Eagle 4;
4. Recipient 1-Misaburo, and recipient 2- Cai Johanna (Misaburo's wife);
5. Assistant 1- Eagle Four, Assistant 2- Caicai Zi, Assistant 3- Best Friend, Assistant 4- Forest Violence;
6. Duet 1- Destiny, Duet 2- Disabled Children, Duet 3- Eagle 4.
The above example is set with three generations of Lang as the protagonist.
Misaburo is the basic driving force of the development of this story, and fate is the restrictive factor of all human activities. It made San Dailang and his wife have a dementia child in skull fracture, which determined the life curve of San Dailang and was the first messenger.
The second messenger is Ying Si, the younger brother of Sandailang. He suggested that the whole family go back to the forest valley and escape from the boring city life, and then determined the background space of the story. In the first half of the story, Ying Si, Caicai Zi and friends all became the assistants of San Dailang, helping him escape from the reality and find his own "thatched cottage", which eventually contributed to the spiritual revival of San Dailang. Fate and disabled children are the enemies of San Dailang, which is a reality that San Dailang dare not face, but at the same time disabled children are his helpers. One of the signs of his spiritual revival is to bravely shoulder the responsibility of feeding disabled children.
After the narrative role is determined, the next step is to determine the narrative procedure. The football team in the first year of Wanyan tells the story of Misaburo and his younger brother returning to their hometown from Tokyo and living in seclusion in a valley full of hairy rice forests. After the younger brother organized a football team and instigated the "modern riots" a hundred years ago, Mr. and Mrs. Misaburo left their hometown and bravely faced the disabled children in their lives. The story is divided into 13 segments and has five narrative procedures.
Narrative program 1 (section 1-2)
This procedure begins with the psychological influence of the suicide of San Dailang's friend and the birth of a disabled child by his wife, and tells the true anguish of San Dailang and his wife. The first sentence of this article reads: "I woke up in the darkness before dawn, seeking a keen sense of' expectation' and groping for the broken consciousness in my nightmare."
The background is dark. Although the protagonist has a feeling of' expectation', nightmares surround him. Nightmares-friends committing suicide and disabled children make the protagonist "weak like a bug pinned down by a needle". Faced with this fate, the protagonist fell into a panic. Although he was eagerly looking for something, he could find nothing. He is like a headless fly, trying to get rid of the dead image of his friends and the mental pressure of disabled children. Here, the protagonist is undoubtedly caught in the conflict of complex emotions such as belief and nothingness, anxiety and addiction, rationality and irrationality, and this situation becomes the premise for the protagonist to try to get rid of this fate and flee to the distant canyon villa. On this premise, the first social contract announced that Ying Si, the younger brother who failed to participate in the student movement and security movement, returned from the United States, and under the instigation of Ying Si's "new life" belief, he returned to the villa covered with Maomi forest with his wife, and promised to start a new life together. In this narrative procedure, narrative elements have been given, including: the protagonist's confusion, the identity of the object, the formation of the contract to get rid of the predicament and so on. In this narrative process, the protagonist suffered a spiritual blow. When he was at a loss in the image of death, his helper quietly appeared. As for the result of the protagonist's struggle with fate, the second procedure will be further described.
Describe Procedure 2 (Section 3-4)
The protagonist and other characters return to the forest valley village in the contract. Is this a utopia that can get rid of spiritual difficulties? This gives the reader a hint at the beginning of story program 2. The beginning of this section is "The Power of the Forest". As mentioned in the article, the protagonist's wish is to start a new life and find a memorable small "cottage". The location of the story has changed from noisy Tokyo to a dark and mysterious forest canyon, but the wife and protagonist are full of "fear of the forest". In this fear and horror, among the new companions coming to the protagonist, there is a morbid A Ren and his fat wife and their scrawny son, and another crazy A Yi. Facing the old ancestral home and these lifeless new partners, the protagonist feels that everything he sees and can see is "there", and everything is just a dream. Faced with the feeling that the protagonist's "existence" equals nothing, readers are not sure whether the protagonist can get rid of the spiritual dilemma, at least temporarily.
With the development of the program here, the protagonist's life situation has formed a new pattern: in this pattern, his younger brother Ying Si temporarily replaces the protagonist and becomes the center of the story (presumably the secondary protagonist). The protagonist is still in a state of lack of vitality, while the secondary protagonist is increasingly vigorous, and the protagonist's helper has gradually become the helper of the secondary protagonist. In fact, a new contract full of contradictions has been formed here: the protagonist is on the sidelines and cannot interfere with the behavior of the minor protagonist, but the minor protagonist is about to start a "new action." Therefore, narration develops further in the cross narration of these two life states.
Narrative Procedure 3 (Section 5- 1 1)
Ying Si is always in a "fantastic memory" of history, which conflicts with the cool and sober memory of the three generations of Lang. Ying Si, the main assistant, temporarily became the protagonist's opponent, but this opponent is not an absolute opponent. They are both contradictory and inclusive, which is a narrative feature of narrative procedure 3. Their opposites are as follows: a kind of indifference, depression and fatigue, a kind of radical impulse persistence. In the pattern with "I" as the protagonist, Eagle IV is the opposite cube; In the pattern centered on Eagle Four, "I" is the secondary opponent, and Koreans are the main opponents. Great-grandfather's elder brother and younger brother S became the potential helpers of younger brother Ying Si, while his wife temporarily left the protagonist to become Ying Si's helper. The enemy my brother wants to destroy is Koreans who own supermarkets. In the overall narrative, the protagonist is "I", but in this program, the center of gravity of the story is temporarily replaced by the secondary protagonist Ying Si (estimated as the secondary center of gravity), which is the narrative feature of program 3, but this secondary center of gravity also serves the narrative of the overall protagonist.
Narrative procedure 4 (section 12)
The second protagonist died in despair after the riot of imagination, which made the whole protagonist go into battle again and become the narrative protagonist. The death of the second protagonist touched the protagonist's indifferent spirit, but he was still at a loss. At this time, the second protagonist's helper, the wife of the protagonist Cai Caizi, became the protagonist's helper again. It is worth mentioning that forest violence is a turning point in the development of the story. It actually plays the role of a helper, bringing the protagonist back to the center. The narrative function of the program is to redefine the central position of the protagonist.
Narrative procedure 5 (section 13)
With the encouragement of his assistant's wife, the second protagonist has died, but the thinking power left by his death has once again become the protagonist's assistant, and the disabled child has also become a potential assistant for the protagonist's spiritual revival. From the overall structure, the narrative structure of Eagle Four, from helper to opponent and then to helper, actually constitutes a philosophical procedure of "negation of negation".
Refine the narrative mode of the story;
Generally speaking, this is a contractual narrative mode. The encounter between man and reality actually constitutes a social contract. People bravely face the reality and bear the heavy burden and responsibility of reality, which means that they have not violated this social contract. If they just escape from the reality that they should face directly, then they have violated this social contract. With the help of helpers, the protagonist can also be said to have established a small contract between them. The function of this small contract (or local contract) is to fight against the social contract. When the helper becomes a new helper in a higher sense, especially when the opponent becomes a new helper, the social contract is confirmed again. Therefore, the basic narrative mode of this paper is that the protagonist is confused by fate (reality) (1)-the protagonist tries to escape from the realistic predicament (2)-the protagonist reaches a partial contract with the helper (3)-the partial contract breaks (4)-and the opponent becomes a potential helper. The development process from (1) to (6) constitutes the deep grammatical structure of the story of the first year of Wanyan Football Team, which is the cognitive way of the text to the world embodied in the "edge-center" opposition schema advocated by DJI.
As can be seen from the above, the protagonist's desire to escape from the real dilemma (disabled children, etc. ) is the basic driving force to promote the development of the story, while the social contract (the reality that should be faced directly) is the restrictive force. In a series of narrative alternation changes, the protagonist experienced a series of changes, the loss of helpers, the return of helpers, and the opponent became a new potential helper. In this series of changes, the hero bravely faced the reality, and his spirit was revived in hardship and depression. So as to achieve success, the development of this plot has actually revealed the meaning of the story: all attempts to evade responsibility are wrong. If we can't face the difficulties of reality bravely and lack the courage to exist, our spirit or body will die, and only when we face reality can our spirit be reborn.