The Narrative Characteristics Of Wang Anyi's Novels

Wang Anyi is a self-reliant author among contemporary literature. She began to write in 1977 and continuously published a series of novels such as"The 69th Session Students in Junior High School","Flow Away","The Love of A Small Town","The Love of Barren Hills","The Love of Jinxiu Valley","Little Bao Village","The Story of His Uncle","Documentary and Fiction","Long—lasting Remorse Song", which arouse fierce resonance in the society. She manages to reveal the prospect of society by means of her abundant imagination, various narrative structures, complicated narrative time, irregularly changing narrative visual angles and flexible narrative skills in her novels.The text and narrative visual angles of Wang Anyi's novels are so changeable and refreshing that her creative"normality"can never be caught. Wang Anyi's creative changes seem to be numerous and complicated, while they never break away from Chinese traditional narrative model.In Chinese traditional narration, the creation of fiction absorbs the characteristics of drama and has the dramatic plots as well. Thus, the"drama style"structure is formed, which pushes the development and deepening of plots through various contradictions and conflicts, to portray the characters'personality, reveal the background of society and age for attracting readers'attention and stimulating the hidden meaning of the text. Wang Anyi fully and broadly uses the"drama style"narrative structure in her text creation to gradually unfold, deepen and centralize the plots, in which the arriving of climax is just the end of the text. The same time as readers come down after reading, their experience of beauty appreciating in the text is deepening. Along with the stimulation of hidden meaning in the text through focused contradictions and conflicts, Wang Anyi's personal spiritual connotation is also sublimating in this creating process. She also leads the characteristic of"focused spirit with flexible structure"in prose into the creation of novels, to form the novelistic narrative structure with the same characteristic of"focused spirit with flexible structure"—the"prose style"structure. She manages to directly transfer natural fragments of life into narrative structure and bring natural and plain flavor of life to the cared-too-much creation of literature at the same time, which refreshes novels. Also, Wang Anyi presents the spirit of text to readers more directly in prosaic and natural fragments of life and thus sublimates the meaning of text in prosaism. She inherits the traditional"bright and dark"double narrative structure in her creating process and adopts two bright lines to cross the narration, which is another deduction of Chinese traditional narrative structure.In Chinese traditional narration, the narrative time can freely shuttle back and forth in past, present and future without any effect on text narrative. This thoroughly profits from the non-originality of Chinese language tense, which provides infinite space-time range for text narration of Chinese literature. Wang Anyi makes full use of this non-originality of language tense in her fiction creation to hold a"present"of narrative and the"last"of narrative or directly cut over that age to narrate the characters and story"presently". In addition, she extends and expands time and space immensely not only to add the content of life in text but also deepen readers'beauty appreciating of the text. Moreover, Wang Anyi pays attention to the objective and accurate description of real life as well as to the detailed catch of characters'emotion and psychological rising and falling, which makes her works plain, graceful, moderate, and deep to sublimate the hidden connotation of text in the slow narrative rhythm. The author projects to the created works her emotional experience, comprehension of life, philosophical thinking by means of narrative visual angles.This is not simply a straight projection but a refraction of thought hiding the author's emotion, comprehension and philosophical thinking between lines so as to thicken thoughts in the text, which is the Chinese narrative tradition."All-known"narration is one important narrative strategy in Chinese traditional narration. Wang Anyi inherits the first person"all-known"narration and creatively adopts the third person"all-known"narration creatively to state and analyze the characters and incidents in the text from aspects. Thus the connotation of text can be fully and clearly known, grasped, thought and digested by readers. Besides, Wang Anyi adopts the third person"limited-known"narration in her text creation, which restrains the width and breadth of space and time in the text world, however, deepens narrator's and readers'comprehension of both the real and the text world. The visual angle of crossing narration is often adopted by Wang Anyi in her text creation as well, which not only brings to readers the novel feelings but also deepens their psychological feelings of reading, further stimulating the hidden connotation of text.In her creation of text, Wang Anyi profitably inherits Chinese traditional narrative model and brings forth new ideas at the same time to form particular narrative characteristics. She makes full use of Chinese traditional entire-thinking model and the non-originality of Chinese language tense together with narrative characteristics of other literature types, which are all led to the creation of novels. This brings innumerable changes to narrative structure, time and visual angles of the text, which not only provides readers the intuitional reading freshness but also produces the resonance between narrator and readers, so as to coordinate spirit, drive out distracting thoughts and promote personality.