Narrative Art Study Of Fire Fighting In The Romance Of The Three Kingdoms

The romance of The Three Kingdoms is not only an excellent historicalnovel, but also an ancient and modern writing of literature, history,military, polity, geography and diplomacy. Its main content is thedisputes of Wei、Shu and Wu, it also describes a series spectacularpictures of war. Among them, the fire strategy used in the battle isprominent, achieving strategic and decisive results in every battle. Thestudy of the Romance of The Three Kingdoms has always been a hot topicin academic, and has made remarkable achievements. But most of peopleconcentrate on the study of its character image, the authenticity and thetheme. The people who research its narrative art are very few, especiallythe further study on the narrative art of some large fire fighting whichis based on narrative theories. This article concretes on the specificcircumstances of several important fire fighting in the romance of TheThree Kingdoms, Starting with the construction of story structure、theshaping of the characters、the aesthetic characteristics and thedifference from the official before and after the fire fight.Furthermore,this article based on Narrative theories reveals the complex and harmonystructure、the clear story lines、the compact narration rhythm and thesuccessful shaping of characters, which lay the status of The Romance ofThe Three Kingdoms in the history of ancient Chinese literature. Thisarticle is not simply a list in time for the sequence of events, butexcavates the integrity and organic of the novel structure and theconnotation of the characters with overall narrative concept andnarrative theories, so we can grasp the regular creation principle andart experience. This paper consists of an introduction and three mainchapters. The introduction states the background and significance of theselected topic, research status and research methods, the innovation ofthe paper and so on. The first chapter classifies and statistics the firefighting in the Romance of the Three Kingdoms. It also analyses thesimilarities and differences of the battle of Guandu、Chibi、and Yilingwhich all have turn nature. The second chapter compared the plot of thefire fighting in the Romance of the Three Kingdoms with the History ofthe Three Kingdoms,it is easy to find that most content are fictional.Some plots give full play to imaginationon the basis of historical materialsand follow the logic of historical development. They also create fulland complete characters. Some arethe novelist’s fictional. It embodiesthe author’s feeling and experience of the history, reflecting theauthor’s taste and thought of the value of life. The third chapter studiesthe narrative characteristics of the fire fighting from the aspects ofthe plot structure,characterization and narrativeperspective. The grandplot structure and the combination of time and space, which form a unified，complete and harmonious art. Dialogue between characters, words andactions of the characters,the activities of the characters in typicalenvironment and various conflicts, all show the character’s psychologicalcircumstances and personality traits. It uses the third-person omniscientperspective and limited omniscient perspective narrative mode, and alsouses multi-angle switchingto describe a full range of multi-faceted.Finally, the conclusion summarizes the framework and content of thearticle. This masterpiece which contains the author’s vision of valueand aesthetic ideal has broad、deep connotations and complete、harmoniousforms of art. It is worthy of systematic study from different angles andlevels.