běn shū xiàng wǒ men qīnqiè dì zhǎn shì liǎo dà jiāng jiàn sān láng chí pìn shì jiè wén tán de jī běn lù xiàn， ràng wǒ men fēn xiǎng liǎo tā chéng gōng de xǐ yuè hé pái huái shí de mí wǎng。 zhè bù jǐn jǐn shì yī gè zuò jiā de chuàng zuò lì chéng， yě shì yī gè rén de xīn lù lì chéng。 nuò bèi 'ěr wén xué jiǎng dé zhù dà jiāng jiàn sān láng chuán qí de chéng míng zhī lù， zhōng guó zuò xié zhù xí zhù míng zuò jiā tiě níng zhuān wén zuò xù、 zhù míng zuò jiā mò yán qiān míng tuī jiàn。 tiě níng： tā de wén xué shēng yá hé tā de xiān míng rén shēng， yǐ chuān yuè shí kōng de gāng jiàn 'ér yòu qīng líng de bǐ chù， yǐ chè dǐ de zì yóu jiǎn tǎo de zī tài， yǐ duì rì běn、 duì yà zhōu、 duì shì jiè、 duì rén lèi yǒng bù pí juàn de yán lì de shěn shì yǔ xī jì， bǎ tā rén shēng zhōng míng liàng de yōu shāng， cāng liáng de shàn yì、 kè zhì de wēn nuǎnhuo wén xué zhōng jī jí de měi dé chéng xiàn gěi dú zhě。
dà jiāng jiàn sān láng yùn yòng jí qí fēng fù de xiǎng xiàng lì， tōng guò xiǎo shuō zhù rén gōng yīng sì fǎn duì rì měi 'ān quán tiáo yuē shòu cuò hòu dào liǎo měi guó， yòu huí dào zì jǐ de jiā xiāng， lí qún suǒ jū zài fù gài zhe mào mì sēn lín de shān gǔ lǐ， xiào fǎng yī bǎi nián qián zēngzǔ fù lǐng dǎo nóng mín bào dòng de bàn fǎ， zǔ zhì liǎo yī zhī zú qiú duì， gǔ dòng “ xiàn dài de bào dòng ” de gù shì， qiǎo miào dì jiāng xiàn shí yǔ xū gòu， xiàn zài yǔ guò qù， chéng shì yǔ shān cūn， dōng fāng wén huà yǔ xī fāng wén huà jiāo zhì zài yī qǐ， yǔ jī xíng 'ér、 bào dòng、 tōng jiān、 luàn lún hé zì shā jiāo zhì zài yī qǐ， miáo huà chū yī fú fú lí qí duō cǎi de huà miàn， yǐ tàn suǒ rén lèi rú hé zǒu chū nà piàn xiàng zhēng kǒng bù hé bù 'ān de“ sēn lín”。 nuò bèi 'ěr wén xué jiǎng píng wěi huì rèn wéi tā“ jí zhī shí、 rè qíng、 yě xīn、 tài dù yú yī lú， shēn kè dì fā jué liǎo luàn shì zhī zhōng rén yǔ rén de guān xì。”
Plot summary
The novel tells the story of two brothers in the early 1960s: the narrator Mitsusaburo (one-eyed, a married English professor in Tokyo) and his younger brother Takashi, who has just returned from the US. Mitsusaburo and his wife, Natsumi, have been through a series of crises. They have left their physically and mentally handicapped baby in an institution, while Mitsusaburo's friend has committed suicide (painting his head crimson, inserting a cucumber in his anus and hanging himself). Natsumi has become an alcoholic. Mitsusaburo leaves his job and they all travel to the brothers' home village, set in a hollow in the forest on Shikoku.
The brothers' family had been one of the leading families in the village. Takashi is obsessed with the memory of their great-grandfather's younger brother, who had led a peasant revolt in 1860. Mitsusaburo remembers the affair differently, believing that the leader of the rebellion had betrayed his followers. They similarly disagree over the death of their older brother, S, who had been killed in a raid on the Korean settlement near the village. Takashi revels in his warrior's death, while Mitsusaburo recalls him as volunteering to be killed in retaliation for the death of a Korean in an earlier raid. Their sister, also mentally retarded, had committed suicide while living with Takashi.
Takashi has agreed to sell the family's kura-yashiki — a traditional residence-cum-storehouse — to 'the Emperor', a Korean originally brought to the village as a slave-worker but who has now gained a position of economic dominance, turning the village's other kura-yashiki into a supermarket which has put the smaller shops out of business. Secretly, he has also agreed to sell the Emperor all the family's land.
Takashi begins to organise the youths of the village into a group, beginning with football training. When Mitsusaburo discovers Takashi's deception, he isolates himself from the others, but his wife sides with Takashi. Mitsusaburo goes to live in the kura-yashiki, while Takashi moves his group into the family's main building.
Takashi uses his group to begin an uprising against the Emperor, looting the supermarket and distributing the goods among the people. Takashi also begins a sexual relationship with Natsumi, and sends one of his followers to tell Mitsusaburo. The people eventually become disenchanted, however; eventually a girl is killed. Takashi claims that he tried to rape her and then murdered her. he is abandoned by his group and waits for the villagers to come and lynch or arrest him. Mitsusaburo, however, does not believe his story and says that Takashi is using the girl's accidental death as a way to engineer his own violent death. Takashi admits to Mitsusaburo that their sister killed herself after he ended an incestuous relationship with her. After Mitsusaburo scorns Takashi's belief that he will be killed, Takashi shoots himself, writing as a final statement, 'I told the truth'.
The Emperor comes and begins demolishing the kura-yashiki. A secret basement is discovered in which the brother of the great-grandfather had spent the rest of his life hiding after the failure of his rebellion. Mitsusaburo and Natsumi decide to try to live together again, along with their handicapped baby and Takashi's unborn child, which Natsumi is carrying. Mitsusaburo decides against a return to his old job, instead taking up an offer to work as a translator with a wildlife expedition to Africa.
Literary significance & criticism
The Japanese title connects the date of the rebellion (1860, the first year of the Man'en era, and also the year of Japan's first embassy to the US) with the American influence on Japan represented by the Japan-US Mutual Security Treaty of 1960 and by the (American) football with which Takashi begins his own uprising. Ōe in a later essay compared the imagination of the writer to a clamp connecting the horizontal narrative with the vertical relationship between the two eras. Ōe also drew a parallel between the back and forth motion of the football being passed and the reciprocal relationship between the stories of the two eras. Michiko Wilson extends the comparison to the thesis-antithesis relationships between the violent and penitential sides of Takashi's character and between the passive, intellectual Mitsusaburo and the active Takashi who is in touch with nature.
Susan Napier emphasises the mythical aspect of the story in her study of the novel. Like many of his earlier works, The Silent Cry has an unreal Arcadian setting, cut off from the rest of Japan and populated with grotesque characters. She argues that the climax of the book, Takashi's suicide, cannot be explained merely as prompted by his guilt over his relations with his sister. Rather, his death is a sacrifice necessary, in terms of the myth, for the redemption of Mitsusaburo and of the village; his incestuous relationship is merely a pretext for the sacrifice.
The Silent Cry is widely seen as a key work in Ōe's oeuvre. It is the only novel (other than The Game of Contemporaneity) to which Wilson devotes a whole chapter in her survey of Ōe's works, while Napier sees it as a turning point in his output between his smaller-scale early works and the broader canvases of the later novels. As such it is, "perhaps his most successful effort to encapsulate Japanese history, society, and politics within a single tight narrative". The novel also marks an end to Ōe's series of works depicting pairs of brothers in pastoral settings, a hiatus which lasted until 1980s' The Trial of 'Nip the Buds, Shoot the Kids'.
Plot summary
The novel tells the story of two brothers in the early 1960s: the narrator Mitsusaburo (one-eyed, a married English professor in Tokyo) and his younger brother Takashi, who has just returned from the US. Mitsusaburo and his wife, Natsumi, have been through a series of crises. They have left their physically and mentally handicapped baby in an institution, while Mitsusaburo's friend has committed suicide (painting his head crimson, inserting a cucumber in his anus and hanging himself). Natsumi has become an alcoholic. Mitsusaburo leaves his job and they all travel to the brothers' home village, set in a hollow in the forest on Shikoku.
The brothers' family had been one of the leading families in the village. Takashi is obsessed with the memory of their great-grandfather's younger brother, who had led a peasant revolt in 1860. Mitsusaburo remembers the affair differently, believing that the leader of the rebellion had betrayed his followers. They similarly disagree over the death of their older brother, S, who had been killed in a raid on the Korean settlement near the village. Takashi revels in his warrior's death, while Mitsusaburo recalls him as volunteering to be killed in retaliation for the death of a Korean in an earlier raid. Their sister, also mentally retarded, had committed suicide while living with Takashi.
Takashi has agreed to sell the family's kura-yashiki — a traditional residence-cum-storehouse — to 'the Emperor', a Korean originally brought to the village as a slave-worker but who has now gained a position of economic dominance, turning the village's other kura-yashiki into a supermarket which has put the smaller shops out of business. Secretly, he has also agreed to sell the Emperor all the family's land.
Takashi begins to organise the youths of the village into a group, beginning with football training. When Mitsusaburo discovers Takashi's deception, he isolates himself from the others, but his wife sides with Takashi. Mitsusaburo goes to live in the kura-yashiki, while Takashi moves his group into the family's main building.
Takashi uses his group to begin an uprising against the Emperor, looting the supermarket and distributing the goods among the people. Takashi also begins a sexual relationship with Natsumi, and sends one of his followers to tell Mitsusaburo. The people eventually become disenchanted, however; eventually a girl is killed. Takashi claims that he tried to rape her and then murdered her. he is abandoned by his group and waits for the villagers to come and lynch or arrest him. Mitsusaburo, however, does not believe his story and says that Takashi is using the girl's accidental death as a way to engineer his own violent death. Takashi admits to Mitsusaburo that their sister killed herself after he ended an incestuous relationship with her. After Mitsusaburo scorns Takashi's belief that he will be killed, Takashi shoots himself, writing as a final statement, 'I told the truth'.
The Emperor comes and begins demolishing the kura-yashiki. A secret basement is discovered in which the brother of the great-grandfather had spent the rest of his life hiding after the failure of his rebellion. Mitsusaburo and Natsumi decide to try to live together again, along with their handicapped baby and Takashi's unborn child, which Natsumi is carrying. Mitsusaburo decides against a return to his old job, instead taking up an offer to work as a translator with a wildlife expedition to Africa.
Literary significance & criticism
The Japanese title connects the date of the rebellion (1860, the first year of the Man'en era, and also the year of Japan's first embassy to the US) with the American influence on Japan represented by the Japan-US Mutual Security Treaty of 1960 and by the (American) football with which Takashi begins his own uprising. Ōe in a later essay compared the imagination of the writer to a clamp connecting the horizontal narrative with the vertical relationship between the two eras. Ōe also drew a parallel between the back and forth motion of the football being passed and the reciprocal relationship between the stories of the two eras. Michiko Wilson extends the comparison to the thesis-antithesis relationships between the violent and penitential sides of Takashi's character and between the passive, intellectual Mitsusaburo and the active Takashi who is in touch with nature.
Susan Napier emphasises the mythical aspect of the story in her study of the novel. Like many of his earlier works, The Silent Cry has an unreal Arcadian setting, cut off from the rest of Japan and populated with grotesque characters. She argues that the climax of the book, Takashi's suicide, cannot be explained merely as prompted by his guilt over his relations with his sister. Rather, his death is a sacrifice necessary, in terms of the myth, for the redemption of Mitsusaburo and of the village; his incestuous relationship is merely a pretext for the sacrifice.
The Silent Cry is widely seen as a key work in Ōe's oeuvre. It is the only novel (other than The Game of Contemporaneity) to which Wilson devotes a whole chapter in her survey of Ōe's works, while Napier sees it as a turning point in his output between his smaller-scale early works and the broader canvases of the later novels. As such it is, "perhaps his most successful effort to encapsulate Japanese history, society, and politics within a single tight narrative". The novel also marks an end to Ōe's series of works depicting pairs of brothers in pastoral settings, a hiatus which lasted until 1980s' The Trial of 'Nip the Buds, Shoot the Kids'.
dà jiāng jiàn sān láng shì cóng dà xué shí dài kāi shǐ bù rù wén tán de zuò jiā， cóng 1955 nián zài dōng jīng dà xué《 xué yuán》 zá zhì shàng fā biǎo de xiǎo shuō chǔnǚ zuò《 huǒ shān》 suàn qǐ， tā de wén xué dào lù yǐ jīng zǒu guò liǎo sì shí duō gè nián tóu。 dàn rú guǒ zhuī sù tā wén xué dào lù de yuán diǎn hé xiǎng xiàng lì de yuán quán， què bì xū cóng rì běn de yī gè xiǎo xiǎo cūn zhuāng tán qǐ。 1994 nián 12 yuè 7 rì， dà jiāng jiàn sān láng zuò wéi zhè yī nián dù de nuò bèi 'ěr wén xué jiǎng dé zhù dēng shàng ruì diǎn huáng jiā wén xué yuàn jiǎng tán fā biǎo shòu jiǎng yǎn shuō de shí hòu， shǒu xiān shuō qǐ de jiù shì tā gù xiāng de cūn zhuāng。
《 gè rén de tǐ yàn》 shì zuò zhě bǎ zì jǐ suǒ jīng lì de jīng shén liàn yù shēng huá wéi wén xué zuò pǐn。 zāo shòu hé fú shè yǔ jī xíng dì de dàn shēng， kě yǐ shuō dōushì rén lì wú fǎ kàng jù de zāinàn， miàn duì zhè yàng de jù dà dǎ jī， rén gāi zěn yàng shēng cún？ guǎng dǎo yuán bào shòu nán zhě hé cán jí 'ér de fù qīn niǎo miàn lín de shì tóng yàng de kè tí。 cán jí 'ér tóng de chū shēng， zuò wéi yī gè yán kù de cān zhào wù， zhào shè chū xiàn dài rén xīn líng de cán jí。《 gè rén de tǐ yàn》 zhōng nián qīng de fù qīn niǎo miàn duì cán jí 'ér de xiàn shí， kǔ nǎo、 dòng yáo， shèn zhì xiǎng bǎ hái zǐ nòng sǐ， zuì hòu zhōng yú zǒu guò xīn líng liàn yù， yǒng gǎn jiē shòu xiàn shí， jué xīn hé cán jí de hái zǐ yī qǐ kāi chuàng gòng tóng shēng cún de dào lù， zài jīng shén shàng huò dé liǎo xīn shēng。
běn shū shǒu xiān jiè shào liǎo cún zài de jiāo lǜ yǔ líng hún de jiàn gòu， jiē zhe jiè shào liǎo gè rén de tǐ yàn、 wàn yán yuán nián de zú qiú、 sì yù、 rén yáng、 xìng de rén děng nèi róng。
Written in 1964, the novel is dark, deeply personal, and semi-autobiographical. It tells the story of Bird, a man who must come to terms with the birth of his mentally disabled son.
Plot summary
Bird's son, like Ōe's, was born with a brain hernia. Bird tries to escape his responsibility for the child, turning to alcohol and an old girlfriend. He must decide whether to let the child live.
Though the novel has a "happy" end, it should be considered in juxtaposition with the story Aghwee the Sky Monster (also by Ōe), in which a father faced with a similar decision makes a different choice (as of this writing Ōe's son, Hikari Ōe is still alive, and despite his disability has made something of a name for himself in Japan with his musical compositions).
《 gè rén de tǐ yàn》 shì zuò zhě bǎ zì jǐ suǒ jīng lì de jīng shén liàn yù shēng huá wéi wén xué zuò pǐn。 zāo shòu hé fú shè yǔ jī xíng dì de dàn shēng， kě yǐ shuō dōushì rén lì wú fǎ kàng jù de zāinàn， miàn duì zhè yàng de jù dà dǎ jī， rén gāi zěn yàng shēng cún？ guǎng dǎo yuán bào shòu nán zhě hé cán jí 'ér de fù qīn niǎo miàn lín de shì tóng yàng de kè tí。 cán jí 'ér tóng de chū shēng， zuò wéi yī gè yán kù de cān zhào wù， zhào shè chū xiàn dài rén xīn líng de cán jí。《 gè rén de tǐ yàn》 zhōng nián qīng de fù qīn niǎo miàn duì cán jí 'ér de xiàn shí， kǔ nǎo、 dòng yáo， shèn zhì xiǎng bǎ hái zǐ nòng sǐ， zuì hòu zhōng yú zǒu guò xīn líng liàn yù， yǒng gǎn jiē shòu xiàn shí， jué xīn hé cán jí de hái zǐ yī qǐ kāi chuàng gòng tóng shēng cún de dào lù， zài jīng shén shàng huò dé liǎo xīn shēng。
běn shū shǒu xiān jiè shào liǎo cún zài de jiāo lǜ yǔ líng hún de jiàn gòu， jiē zhe jiè shào liǎo gè rén de tǐ yàn、 wàn yán yuán nián de zú qiú、 sì yù、 rén yáng、 xìng de rén děng nèi róng。
Written in 1964, the novel is dark, deeply personal, and semi-autobiographical. It tells the story of Bird, a man who must come to terms with the birth of his mentally disabled son.
Plot summary
Bird's son, like Ōe's, was born with a brain hernia. Bird tries to escape his responsibility for the child, turning to alcohol and an old girlfriend. He must decide whether to let the child live.
Though the novel has a "happy" end, it should be considered in juxtaposition with the story Aghwee the Sky Monster (also by Ōe), in which a father faced with a similar decision makes a different choice (as of this writing Ōe's son, Hikari Ōe is still alive, and despite his disability has made something of a name for himself in Japan with his musical compositions).
dà jiāng jiàn sān láng yú 1979 nián fā biǎo liǎo cháng piān xiǎo shuō《 tóng shí dài de yóu xì》， xiāng jiào yú zhōng guó chuán tǒng wén huà zhōng duì táo huā yuán de nà zhǒng táo bì xiàn shí de lǐ xiǎng zhī dì， zhè bù zuò pǐn zhōng de wū tuō bāng zé míng xiǎn cè zhòng yú tōng guò xiàn shì de gé mìng hé jiàn shè dá dào lǐ xiǎng zhī jìng。 cóng zhè gè wén běn de yǐn jié gòu zhōng kě yǐ fā xiàn， dà jiāng jiàn sān láng zài gòu jiàn sēn lín zhōng zhè gè wū tuō bāng de guò chéng zhōng， bù shí yǐ zhōng guó gé mìng hé jiàn shè wéi cān zhào xì， shì tú cóng zhōng tàn suǒ chū yī tiáo yóu cǐ tōng wǎng lǐ xiǎng guó de jù yòu pǔ biàn yì yì de tōng tú。 dāng rán， dà jiāng jiàn sān láng zài zì jǐ de wén xué shì jiè lǐ jiàn lì gēn jù dì de cháng shì，《 tóng shí dài de yóu xì》 xiǎn rán bù shì dì yī cì， yě bù huì shì zuì hòu yī cì。 dà jiāng jiàn sān láng shuō， tā wén xué zuò pǐn zhōng gòu jiàn de gēn jù dì ( wū tuō bāng ) shí jì shàng shì yuán yú máo zé dōng de gēn jù dì。
dà jiāng jiàn sān láng zuì zǎo jiē chù de gēn jù dì fāng miàn de wén zhāng shì《 zhōng guó de hóng sè zhèng quán wèishénme néng gòu cún zài？》， zài nà piān wén zhāng lǐ， máo zé dōng wéi rào gēn jù dì de jiàn lì hé fā zhǎn zuò liǎo hěn hǎo de chǎn shù。 hòu lái zài dà xué lǐ xué xí liǎo máo zé dōng zhù zuò hòu， dà jiāng jiàn sān láng biàn yì shí dào， tā de gù xiāng de nóng mín yě céng jǔ xíng guò jǐ cì bào dòng， zuì zhōng què méi néng jiān chí xià lái， guī gēn jié dǐ， jiù shì méi néng xiàng máo zé dōng nà yàng jiàn lì wěn gù de gēn jù dì。 rì běn de bào dòng zhě wèishénme bù zài shān qū jiàn lì gēn jù dì ní？ rú guǒ jiàn lì liǎo gēn jù dì， qíng kuàng yòu jiāng rú hé？ zhè shì dà jiāng jiàn sān láng yī zhí zài sī kǎo de wèn tí， bìng qiě zài zuò pǐn zhōng biǎo xiàn liǎo chū lái。
The Game of Contemporaneity was originally inspired on Diego Rivera’s mural 'Dream on a Sunday Afternoon in the Central Alameda'. Oe’s approach to history and story-telling, like in the mural, exposes the themes of simultaneity, ambiguity and thus complexity. The story centres itself around the alternative world of the dissident samurai, as opposed to that of the Emperor. The samurai turn into demons after having being chased into the forest. The story of the village serves as a microcosmic representation of the history of the nation as a whole. It has its own creation myth and fertility goddess, as well as having a composite healer/trickster called: The One Who Destroys. Although the novel exposes the themes of marginalisation and outsiderhood, it also provides hope for a new beginning. This emphasizes the central theme of the novel: simultaneous ambiguity, in the amalgamation of past and present, fact and dream, as well as history and myth. Oe uses satire, parody and black humour to describe the many deeds and events of the samurai. This culminates in the Fifty-Day War, in which the samurai and the imperial army battle one another, with The One Who Destroys leading the battle against the The No-Name Captain of the imperial guard. It ends in the samurai surrendering to avoid the destruction of the forest (mori). The word 'mori' in itself is ambivalent in that in Japanese it conjures an image of regeneration or rebirth and in Latin that of death.
This novel has been considered as a main example of the current of Magic Realism in Japanese Literature. Other Japanese authors with considerable literary contributions to this genre are: Abe Kobo, Yasunari Kawabata and Yasushi Inoue.
dà jiāng jiàn sān láng zuì zǎo jiē chù de gēn jù dì fāng miàn de wén zhāng shì《 zhōng guó de hóng sè zhèng quán wèishénme néng gòu cún zài？》， zài nà piān wén zhāng lǐ， máo zé dōng wéi rào gēn jù dì de jiàn lì hé fā zhǎn zuò liǎo hěn hǎo de chǎn shù。 hòu lái zài dà xué lǐ xué xí liǎo máo zé dōng zhù zuò hòu， dà jiāng jiàn sān láng biàn yì shí dào， tā de gù xiāng de nóng mín yě céng jǔ xíng guò jǐ cì bào dòng， zuì zhōng què méi néng jiān chí xià lái， guī gēn jié dǐ， jiù shì méi néng xiàng máo zé dōng nà yàng jiàn lì wěn gù de gēn jù dì。 rì běn de bào dòng zhě wèishénme bù zài shān qū jiàn lì gēn jù dì ní？ rú guǒ jiàn lì liǎo gēn jù dì， qíng kuàng yòu jiāng rú hé？ zhè shì dà jiāng jiàn sān láng yī zhí zài sī kǎo de wèn tí， bìng qiě zài zuò pǐn zhōng biǎo xiàn liǎo chū lái。
The Game of Contemporaneity was originally inspired on Diego Rivera’s mural 'Dream on a Sunday Afternoon in the Central Alameda'. Oe’s approach to history and story-telling, like in the mural, exposes the themes of simultaneity, ambiguity and thus complexity. The story centres itself around the alternative world of the dissident samurai, as opposed to that of the Emperor. The samurai turn into demons after having being chased into the forest. The story of the village serves as a microcosmic representation of the history of the nation as a whole. It has its own creation myth and fertility goddess, as well as having a composite healer/trickster called: The One Who Destroys. Although the novel exposes the themes of marginalisation and outsiderhood, it also provides hope for a new beginning. This emphasizes the central theme of the novel: simultaneous ambiguity, in the amalgamation of past and present, fact and dream, as well as history and myth. Oe uses satire, parody and black humour to describe the many deeds and events of the samurai. This culminates in the Fifty-Day War, in which the samurai and the imperial army battle one another, with The One Who Destroys leading the battle against the The No-Name Captain of the imperial guard. It ends in the samurai surrendering to avoid the destruction of the forest (mori). The word 'mori' in itself is ambivalent in that in Japanese it conjures an image of regeneration or rebirth and in Latin that of death.
This novel has been considered as a main example of the current of Magic Realism in Japanese Literature. Other Japanese authors with considerable literary contributions to this genre are: Abe Kobo, Yasunari Kawabata and Yasushi Inoue.
“ guǎng dǎo” rú hé gǎi biàn dà jiāng héng héng lùn《 guǎng dǎo zhá jì》 zhī yú dà jiāng wén xué de yì yì
wēng jiā huì
（ běi jīng dà xué wài guó yǔ xué yuàn rì yǔ xì）
fān kāi《 guǎng dǎo zhá jì》， jiù xiàng shì fān kāi liǎo yī běn dà jiāng wén xué cí diǎn： bēi cǎn、 jué wàng、 fēng kuáng、 qū rǔ、 qī piàn、 kùn jìng、 yǒng qì、 wēi yán、 dào dé、 zhèng tǒng、 zì zhì、 bù qū、 xī wàng …… měi yī gè cí dōuyòu yī duàn dú tè de zhù shì， měi gè zhù shì bèi hòu dū fù dài zhe yī gè huò duō gè guǎng dǎo rén de gù shì。 yòu xiē cí zài bái guāng shǎn guò de yī shùn jiān biàn bèi gēngxīn liǎo dìng yì， yòu xiē zé yào fù chū shēng mìng de dài jià cái néng lǐng wù。《 guǎng dǎo zhá jì》， bù jǐn wéi dà jiāng wén xué zhù rù liǎo quán xīn de nèi róng， tóng shí yě gěi zhè xiē cí huì lào shàng liǎo yī gè dú tè de yìn jì héng héng yuán zì guǎng dǎo。 zhè xiē dài zhe guǎng dǎo yìn jì de cí huì shǐ dé dà jiāng wén xué huò dé liǎo jī jí de lì liàng， bìng shǐ dà jiāng chéngzhǎng wéi yī gè zhēn zhèng de rén dào zhù yì zuò jiā。
zhèng rú xiān shēng zài《 zuò wéi 〈 guǎng dǎo zhá jì 〉 de zuò zhě》 zhōng suǒ shuō， qù guǎng dǎo zhī qián， tā de zhuàng tài shì“ zài xiàn shí shēng huó zhōng jiē jìn bēng kuì， zài wén xué shàng yě shī qù liǎo zì xìn”。 jiù zài tā qù guǎng dǎo de liǎng gè yuè qián， 1963 nián 6 yuè， dài yòu xiān tiān nǎo bù cán jí de dà 'ér zǐ dàn shēng liǎo。 zuò wéi yī gè nián qīng de xīn bà bà， 28 suì de dà jiāng wú yí miàn lín zhe yòu shēng yǐ lái de dì yī gè dà nán tí， ér tā suǒ cóng shì de wén xué shì yè què sī háo wú zhù yú tā jiě jué zhè gè nán tí。 yǔ cǐ tóng shí， zǎo qī zuò pǐn zhōng duì zhèng zhì、 xìng、 jiān jìn zhuàng tài děng zhù tí de tàn suǒ sì hū yě zǒu jìn liǎo sǐ hú tóng， yīn wéi tā yì shí dào zì jǐ“ wèi néng sù zào chū nà zhǒng lèi xíng què shí dú tè de xīn rén xíng xiàng， wèi néng zài zuò pǐn zhōng róng rù jī jí de yì yì bìng xiàng shè huì tuī jiè”。 tā shèn zhì kāi shǐ huái yí， zì jǐ“ cǐ qián yī zhí rè 'ài zhe de wén xué， qí shí zhǐ shì gè yī wú suǒ yòng de dōng xī。 zhè zhǒng wú fǎ zhuǎn huà wéi zì jǐ shēng huó xià qù suǒ xū yào de jī jí lì liàng de xiǎo shuō， zěn me néng gòu chéng wéi yǔ wǒ tóng shí dài de、 shèn zhì gèng wéi nián qīng de nà xiē dú zhě de jīng shén zhī zhù ní？” duì yú wén xué jià zhí běn shēn de zhì yí， lái zì yú dà jiāng wén xué zuì chū de yī gè yuán tóu héng héng sà tè de cún zài zhù yì hé rén dào zhù yì。 1963 nián 4 yuè， sà tè zài jiē shòu《 shì jiè bào》 cǎi fǎng shí， céng jīng tí chū guò zhè yàng yī gè wèn tí：“ zài 'è sǐ de hái zǐ miàn qián， wén xué yòu hé yòng？” sà tè zhù zhāng wén xué jiā yīnggāi jī jí dì“ jiè rù shè huì”， ér yòu fǎn duì zhě zé rèn wéi wén xué bù guò shì gè rén de“ zì wǒ zhěng jiù”。 1963 nián 8 yuè， dà jiāng xiān shēng fā biǎo liǎo zì jǐ de guān diǎn， tā rèn wéi“ zuò wéi yī gè zuò jiā， wǒ de zhí yè gǎn jué gào sù wǒ， wǒ zhǐ néng zài liǎng diǎn zhī jiān zuò dān bǎi yùn dòng”， yě jiù shì shuō， tā rèn wéi zì jǐ de wén xué jì kě yǐ dú shàn qí shēn， yòu néng gòu jiān jì tiān xià。 rán 'ér， zhè gè xiǎng fǎ zài tā jié shù guǎng dǎo zhī xíng hòu， biàn fā shēng liǎo gēn běn xìng de zhuǎn biàn。
jìn guǎn《 shì jiè》 zá zhì yāo qǐng dà jiāng qù guǎng dǎo cǎi fǎng de mù de shì bào dào“ dì jiǔ jiè fǎn duì yuán zǐ dàn qīng dàn shì jiè dà huì”， dàn dà jiāng què hěn kuài jiāng mù guāng jù jiāo dào liǎo guǎng dǎo yuán zǐ bìng yī yuàn de shòu hài zhě shēn shàng， yīn wéi tā yù shàng liǎo yī wèi“ jí wéi chū sè de rén”、 yī gè zhèng tǒng de rén、 yī gè yòu wēi yán de rén héng héng guǎng dǎo yuán zǐ bìng yī yuàn yuàn cháng zhòng téng wén fū bó shì。 zài zhòng téng bó shì de jiè shào zhī xià， dà jiāng jiē chù dào liǎo gè zhǒng gè yàng shēn shòu yuán zǐ dàn hōng zhà zhī kǔ de shòu hài zhě。 tā men de bēi cǎn zì bù dài yán， kě shì tā men zài bēi cǎn de jìng yù zhōng suǒ chí yòu de dú tè de rén shēng guān què lìng dà jiāng shēn gǎn zhèn hàn。 yú shì，《 guǎng dǎo zhá jì》 biàn jù bèi liǎo yī gè qí tā yuán zǐ dàn hōng zhà wén xué zuò pǐn zhōng bìng bù cháng jiàn de tè diǎn héng héng tā yòng hěn shǎo de bǐ mò qù xuàn rǎn bái guāng shǎn guò hòu de rén jiān dì yù tú， fǎn 'ér duì nà xiē zài chén mò zhōng jìn xíng zhe bù qū bù náo dǒu zhēng de rén men de jīng shén shì jiè jìn xíng liǎo shēn rù de pōu xī， bìng yóu cǐ sù zào liǎo yī pī zāo shòu yuán zǐ dàn hōng zhà hòu xīn de guǎng dǎo rén de xíng xiàng。
zuì lìng dà jiāng gǎn dào zhèn hàn de shì yǐ zhòng téng bó shì wéi dài biǎo de、 shǐ zhōng zhàn dǒu zài dì yī xiàn de guǎng dǎo de yī wù gōng zuò zhě。 tā men bù jǐn zài zāo shòu yuán zǐ dàn hōng zhà hòu bù gù zì shēn de shāng tòng， zài dì yī shí jiān zǔ zhì bìng zhǎn kāi jiù yuán xíng dòng， gèng lìng dà jiāng gǎn dào jìng pèi hé gǎn dòng de shì tā men zài cǐ hòu de yī liáo huó dòng zhōng， shǐ zhōng wéi zhēng qǔ yuán zǐ dàn hōng zhà shòu hài zhě de quán lì 'ér jié jìn suǒ néng。 kě yǐ shuō， zài zhòng téng bó shì shēn shàng， dà jiāng kàn dào liǎo yī gè zhēn zhèng de rén dào zhù yì zhě suǒ yìng jù bèi de jiān rèn hé cí bēi， tóng shí， zhòng téng bó shì yě wéi dà jiāng diǎn kāi liǎo yī yè xīn de shì chuāng， shǐ dé tā néng gòu jiè zhù zhòng téng bó shì de yǎn jīng qù jì xù guān zhù yuán zǐ dàn hōng zhà jí qí xiāng guān wèn tí。《 chōng shéng zhá jì》 zhōng duì yú chōng shéng yuán zǐ dàn shòu hài zhě de guān zhù， wú yōng zhuì yán， xiǎn rán shì jiè zhù liǎo dà jiāng de guǎng dǎo jīng yàn。 ér duì chōng shéng wèn tí de sī kǎo， què yòu zhú jiàn zhuǎn biàn chéng liǎo lìng yī gè zhù tí， jí duì bāo kuò dà jiāng zài nèi de rì běn rén de sī kǎo。 háo wú yí wèn， zhòng téng wén fū wéi dà jiāng wén xué cí diǎn zhōng“ zhèng tǒng”、“ wēi yán”、“ bù qū” jiā shàng liǎo xīn de zhù shì， ér tā gèng wéi qiáng dà de lì liàng zé shì tā duì zhōu wéi rén de yǐng xiǎng lì héng héng zhè yī diǎn zài《 guǎng dǎo zhá jì》 zhōng bìng dé dào chōng fēn tǐ xiàn， bù guò zài《 guǎng dǎo zhá jì》 zhī hòu， dà jiāng lù xù fā biǎo de hé“ guǎng dǎo” yòu guān de xiǎo shuō、 píng lùn、 yǎn jiǎng hé duì huà děng chū bǎn wù zhōng， zhòng téng bó shì de xíng xiàng hé sī xiǎng wú chù bù zài。 1971 nián xīn cháo shè chū bǎn de《 duì huà · yuán zǐ dàn bào zhà hòu de rén men》（ hé guǎng dǎo yuán zǐ bìng yī yuàn yuàn cháng zhòng téng wén fū de duì huà） gèng shì zhí jiē bǎ zhòng téng bó shì tuī dào liǎo qián tái。 gēn dà jiāng yī tóng qián wǎng guǎng dǎo jìn xíng cǎi fǎng de《 shì jiè》 zá zhì shè biān ji 'ān jiāng liáng jiè， yě tōng guò zhòng téng bó shì fā xiàn liǎo zì jǐ nèi xīn shēn chù de“ zhì xiàng”， qīn zì tóu shēn dào dōng jīng dū dū zhèng gǎi gé de zhèng zhì huó dòng zhōng。 ér tā zài qián wǎng guǎng dǎo zhī qián， gēn dà jiāng yī yàng， gāng gāng zāo shòu liǎo gè rén shēng huó shàng de yī gè zhòngchuāng héng héng dà nǚ 'ér de qù shì。
rán 'ér， zhòng téng bó shì de rén gé mèi lì bìng fēi zǒng shì néng gòu jiāng xiàn yú kùn jìng de rén zhěng jiù chū jué wàng de ní tán。 jiù zài jiù yuán xiàn chǎng， yī gè nián qīng de yá yī xiàng tā tí chū yī gè wèn tí： zhàn zhēng dū jié shù liǎo， guǎng dǎo rén wèishénme hái yào zāo zhè yàng de zuì？ zhòng téng dà fū yòng chén mò dài tì liǎo huí dá， 30 fēn zhōng hòu， nián qīng de yá yī zì yì shēn wáng。 héng héng dà jiāng zài《 guǎng dǎo zhá jì》 zhōng jì lù de zhè wèi nián qīng dà fū， què yòu qí rén， zhǐ bù guò hé shí jì qíng kuàng shāo yòu chū rù 'ér yǐ。 zài hé zhòng téng bó shì de duì huà zhōng， dà jiāng zài cì tí dào liǎo nà gè nián qīng de zì shā zhě héng héng zuò wéi suǒ yòu xuǎn zé yǐ zì shā jié shù yuán zǐ dàn hōng zhà shòu hài zhě shēn fèn de rén men de yī gè diǎn xíng héng héng yuán lái tā shì gè yǎn kē dà fū， zì shā shí bìng wèi shēn shòu zhòng shāng， yě jiù sān shí sì、 wǔ suì de nián jì。 zhòng téng bó shì yóu yú máng zhe zhì liáo bìng rén， duì tā tí chū de“ huāng dàn de wèn tí” méi yòu gěi chū dá 'àn héng héng shí jì shàng tā zì jǐ xīn zhōng yě méi yòu dá 'àn héng héng zhǐ shì jiào tā zhuān xīn gěi bìng rén kàn bìng， què bù céng liào xiǎng， nà wèi nián qīng de yǎn kē dà fū 30 fēn zhōng hòu， zài bìng fáng de duàn yuán cán bì shàng xún dào yī jié bào lù zài wài de dīng zǐ， guà shàng bēng dài， jié shù liǎo zì jǐ de shēng mìng。 dà jiāng xiān shēng tuī cè，“ qīng nián zhī suǒ yǐ yīn jué wàng 'ér zì yì， hěn kě néng shì yóu yú tā yǐ jīng yì shí dào， zhè wèi lǎo yī shēng de chén mò， bìng bù jǐn jǐn shì tā gè rén de chén mò， nà shì quán rén lèi de chén mò。” bā nián zhī hòu， dāng dà jiāng xiān shēng hé zhòng téng bó shì zài cì tán dào zhè wèi qīng nián yī shēng shí， zhòng téng bó shì hái wèicǐ shì shēn gǎn nèi jiù hé 'ào huǐ。
cóng zhè wèi zì shā de qīng nián yī shēng shēn shàng， wǒ men sì hū yǐn yuē kàn dào liǎo qián wǎng guǎng dǎo shí qīng nián dà jiāng liǎn shàng kǒng jù hé jué wàng。 bù mǎn bǎi tiān de dà 'ér zǐ zhèng tǎng zài yī yuàn de tè hù bìng fáng yǔ sǐ shén bó dǒu， zuò wéi fù qīn， tā bì xū yào zuò chū yī gè xìng mìng yōu guān de jué dìng héng héng shì fǒu duì hái zǐ nǎo bù de dà liú zǐ zuò yī gè shǒu shù。 kě yǐ shuō， zài qù guǎng dǎo zhī qián， tā de nèi xīn bèi zhēngzhá yǔ máo dùn de xiǎo chóng hěn hěn dì niè shí。 céng yòu dōng dà de shī xiōng héng héng yī gè nián qīng de dà fū héng héng jiàn yì tā fàng qì zhè gè hái zǐ， yīn wéi jí shǐ dòng wán shǒu shù， yě huì liú xià cán jí， ér bù zuò shǒu shù， rèn qí fā zhǎn de huà， hěn kě néng huó bù cháng jiǔ。 duì yú chū wéi rén fù de dà jiāng 'ér yán， zhè wú yí shì yī gè jù dà de rén shēng wēi jī。 dāng tā de shǒu zhōng zhǎng wò zhe lìng yī gè shēng mìng héng héng zì jǐ de qīn gǔ ròu héng héng de shēng shā dà quán de shí hòu， méi yòu rén kě yǐ bāng tā lái zuò zhè gè jué dìng。 jí biàn shì zài yī xué jì shù fā zhǎn rì xīn yuè yì de jīn tiān， jí biàn méi yòu rèn hé yí chuán shàng de yuán yīn， réng rán wú fǎ bì miǎn cán jí 'ér huì yǐ 5% zuǒ yòu de gàilǜ jiàng shēng dào zhè gè shì jiè。 zhè zhǒng“ háo wú dào lǐ de jù dà zāi hài de xí jī”， jìn guǎn shì“ gè rén guī mó” de， qí suǒ zào chéng de jiēguǒ què shì ràng rén shēng bù rú sǐ， zài jí dù tòng kǔ zhōng zǒu xiàng zì wǒ huǐ miè。 háo wú yí wèn， nián qīng de yá yī wú fǎ chéng shòu zhè yàng de jiēguǒ， xuǎn zé liǎo gèng wéi qīng sōng de fāng shì lái huí dá zì jǐ tí chū de wèn tí。 ér dà jiāng zài lí kāi guǎng dǎo zhī hòu què zuò chū liǎo yī gè yǐng xiǎng tā yī shēng de jué dìng héng héng gēn cán jí 'ér gòng tóng shēng huó xià qù。 tā shuō：“ miàn duì ‘ zhè gè kě lián de xiǎo dōng xī ’， wǒ jué dìng yào chéng wéi yī gè zhèng rén， zhèng míng tā huó guò、 cún zài guò， yě jiù shì shuō， wǒ jué dìng hǎohǎo jiē shòu zhè gè hái zǐ， gēn tā yī qǐ shēng huó。 ér qiě， wǒ dāng shí jiù yù gǎn dào， wǒ de zhèng cí kěn dìng huì chéng wéi wǒ yī shēng de wén xué。” zhè yě jiù shì wǒ men zài zhī hòu de zuò pǐn zhōng bù duàn kàn dào cán jí 'ér chéngzhǎng de yuán yīn， cóng guǎng dǎo huí lái zhī hòu， dà jiāng chuàng zuò liǎo cháng piān xiǎo shuō《 gè rén de tǐ yàn》， bìng yóu cǐ kāi shǐ liǎo“ yǔ cán jí 'ér gòng shēng” zhè yī zhù tí de wén xué chuàng zuò。
《 guǎng dǎo zhá jì》 jì lù liǎo wú shù jiān qiáng yǒng gǎn de yuán zǐ dàn hōng zhà shòu hài zhě de xíng xiàng， tā men de rén shēng jīng lì gè yì、 xìng gé guān niàn bù tóng， què yīn wéi yuán zǐ dàn hōng zhà 'ér bèi lào shàng liǎo xiāng tóng de jì hào héng héng“ guǎng dǎo”， bìng yīn cǐ 'ér jī huó liǎo qián cáng yú nèi xīn shēn chù rén xìng zuì wán qiáng、 zuì jiān rèn de pǐn zhì。 yóu qí shì tā men miàn duì wú bǐ tòng kǔ de yuán zǐ bìng（ yīn shòu yuán zǐ dàn hōng zhà yǐng xiǎng suǒ chǎn shēng de bìng biàn， zhū rú zhì lì chí dùn de“ chī dāi”、 rǎn sè tǐ“ jī biàn” de bù yù zhèng、 ái zhèng、 bái xuè bìng、 gǔ suǐ liú， yǐ jí qí tā hǎn jiàn de xuè yè bìng děng màn xìng bìng biàn） suǒ dài lái de kǒng jù shí suǒ biǎo xiàn chū lái de yǒng qì， gèng shì lìng rén wú yán yǐ duì。 gèng jiā lìng rén 'ě wàn tàn xī de hái yòu chū shēng yú zhàn hòu、 bìng wèi jīng lì guò yuán zǐ dàn hōng zhà， què tóng yàng wèicǐ fù chū shēng mìng dài jià de yī gè nián qīng gū niàn。 tā de liàn rén zài 4 suì shí zāo dào yuán zǐ dàn hōng zhà， zhǎngdà hòu fā xiàn lí huàn bái xuè bìng， liǎng rén dìng hūn hòu bù jiǔ， liàn rén biàn yīn bìng cí shì。 tā bù rěn dú huó， xuǎn zé liǎo xùn qíng zì shā。 tā duì liàn rén de bìng qíng zǎo jiù zhī xiǎo， què yǐ rán yǔ tā xiāng zhī xiāng liàn， shēng sǐ yǔ gòng。 tā suǒ zuò de yī qiē“ bù hán sī háo de zì wǒ xī shēng jīng shén， yī qiēdōu shì yuán yú 'ài、 yā dǎo yī qiē de、 qiáng liè de 'ài。 zhè zhǒng qiáng liè de 'ài， yě kě yǐ tì huàn chéng yī zhǒng qiáng liè de hèn， duì wǒ men zhè xiē xìng cún zhě de、 duì wǒ men zhèng zhì de qiáng liè de hèn。” kě shì， tā què méi yòu zhè yàng zuò，“ tā yǐ guó jiā xī shēng pǐn de róu ruò zī tài， duì guó jiā de bēi liè qī piàn héng héng shí jì shàng bāo kuò guó jiā de qī piàn hé suǒ yòu xìng cún zhě de qī piàn héng héng jǐyǔ liǎo zhì mìng de dǎ jī。” zhè gè chū shēng yú zhàn hòu， yǔ yuán zǐ dàn hōng zhà méi yòu rèn hé guān xì de gū niàn， tā suǒ zuò de zuì zhōng xuǎn zé gěi rén de zhèn hàn yǔ qí shuō shì gǎn dòng， bù rú shuō shì jìng zhòng， yīn wéi“ tā zuì dà xiàn duódì zuò dào liǎo， yī gè rén， duì yī gè sǐ yú yuán zǐ bìng de qīng nián， suǒ néng zuò dào de yī qiē”。
jìn guǎn dà jiāng xiān shēng zài《 guǎng dǎo zhá jì》 zhōng jì lù liǎo wú shù lèi shìde bēi cǎn 'ér gǎn rén de gù shì， dàn shì， tā zài qí hòu jīng cháng tí dào de què shì shàng wén zhōng nà wèi bù kān jīng shén zhòng fù xuǎn zé zì yì shēn wáng de nián qīng yī shēng。 jiù zài qù nián， jí 2008 nián 2 yuè， zài dōng jīng xīn sù zhào kāi de shì jiè bǐ huì lùn tán shàng， tā zuò liǎo tí wéi“ miàn xiàng‘ zuò wéi yì zhì xíng wéi de lè guān zhù yì’” de jiǎng yǎn。 qí zhōng zài cì tán dào liǎo zhè wèi yǎn kē yī shēng de zì shā yǐ jí cóng tā shēn shàng yìng zhào chū lái de dà jiāng dāng shí de xīn lǐ zhuàng tài。 jìn guǎn zài《 guǎng dǎo zhá jì》 zhōng duì yǎn kē yī shēng de miáo xiě zhǐ shì dàn dàn gòu lè， dàn shì， suí zhe zhòng téng bó shì duì dì 'èr dài yuán zǐ bìng yán jiū gōng zuò de shēn rù kāi zhǎn， dà jiāng sì hū zài tì nà wèi hái wèi mù dǔ gèng jiā kǒng jù、 gèng jiā jué wàng de“ guǎng dǎo” jiù xiān xíng tuì chǎng de yī shēng， jiàn zhèng suǒ yòu zhèng zài fā shēng de、 yù cè yī qiē jí jiāng fā shēng de guǎng dǎo de gù shì。
nà me， jiū jìng shì“ guǎng dǎo” gǎi biàn liǎo dà jiāng， hái shì dà jiāng jiāng“ guǎng dǎo” tuī xiàng liǎo shì jiè， liǎng zhě zhī jiān sì hū shì gè xiāng fǔ xiāng chéng de guān xì。 jìn guǎn dà jiāng xiān shēng huí yì guǎng dǎo zhī xíng shí shuō zì jǐ zài nà lǐ shòu dào liǎo“ nà yàng yī xiē rén jí wéi kuān róng de jiē dài”， shì tā“ yī shēng zuì dà de xìng yùn”， dàn shì， cóng lìng yī gè jiǎo dù lái kàn， zhè yě zhèng hǎo shuō míng liǎo dà jiāng xiān shēng shēn shàng suǒ jù bèi de mǒu zhǒng xìng gé tè zhì， zài zhòng téng bó shì de“ zhèng tǒng”、“ wēi yán”、“ bù qū” děng tè zhì de hū huàn xià pēn bó 'ér chū， yǔ qí xiāng hù huī yìng， chéng wéi cù shǐ tā jiāng shēn cáng zài“ nèi xīn shēn chù de、 mǒu zhǒng shén jīng shuāi ruò de miáo tóu hé tuí fèi de sī xiǎng lián gēn bá qǐ” de lì liàng。 sì shí duō nián hòu， dāng xiān shēng huí shǒu wǎng shì shí， tā zài《 kǒu shù zìzhuàn》 zhōng tí dào， zì jǐ de shēn shàng cún zài zhe mǒu zhǒng lè guān de dōng xī， suī rán píng shí zǒng shì gǎn dào bēi guān， kě yī dàn yù shàng shí jì kùn nán， biàn huì duān zhèng tài dù， rèn zhēn duì dài。 suǒ yǐ， jiù zài cán jí 'ér chū shēng de nà duàn shí jiān， tā cóng zì jǐ zhèng zài yuè dú de xī méng nà · wéi yī de zuò pǐn zhōng zhǎo dào liǎo yī zé yīn niǔ tè rén de yù yán，“ shuō de shì shì jiè gāng kāi shǐ nà huì 'ér， zhè dà dì shàng yòu wū yā， zhuó shí luò zài dì miàn shàng de dòu zǐ， dàn shì zhōu wéi yī piàn qī hēi， wú fǎ kàn qīng chǔ 'ěr liào。 yú shì nà wū yā jiù zài xiǎng，‘ zhè shì jiè shàng ruò shì yòu guāng liàng de huā， zhuó shí qǐ lái gāi yòu duō me fāng biàn yā’。 jiù zài wū yā zhè me xiǎng de shùn jiān， shì jiè biàn chōng mǎn liǎo guāng liàng。” cóng zhè běn shū zhōng dé dào líng gǎn， tā gěi hái zǐ qǔ liǎo gè míng zì jiào“ wū yā”， jiēguǒ rě dé mǔ qīn hěn nǎo huǒ。 dāng rán， zuì hòu tā hái shì xuǎn zé liǎo“ guāng” zuò wéi xīn shēng 'ér de míng zì， bìng zài tè hù bìng fáng lǐ zhù shì zhe tóu shàng dǐng zhe gè dà liú， què mǎn miàn hóng guāng， yī tiān tiān xùn sù chéngzhǎng de 'ér zǐ shí， gǎn dào zì jǐ gěi tā qǔ liǎo yī gè zhèng què de míng zì héng héng shè fǎ cháo zhe guāng míng de fāng xiàng qián xíng。 jiēguǒ yě shì rú cǐ， dà jiāng guāng chéng liǎo yī míng jiā yù hù xiǎo de yīnyuè jiā。
miàn duì xīn yī dài de zhōng guó dú zhě， dà jiāng xiān shēng bǎ《 guǎng dǎo zhá jì》 jiè shào wéi“ wǒ shēng yá zhōng de wén xué zhī quán bù de zhēn zhèng chū fā diǎn”。 zhè yī dìng wèi， duì yú 1963 nián de tā 'ér yán， wán quán hé shì， ér duì yú 21 shì jì de zhōng guó dú zhě， què yòu tiān jiā liǎo xīn de yì yì。 yīn wéi tā hái shuō dào：“ bù néng zhǐ cóng bèi hài zhě de lì chǎng lái kàn dài zhè xiē zāinàn， hái yào cóng dǎo zhì tóu xià yuán zǐ dàn de rì běn jūn guó zhù yì tǐ zhì zhī pī pàn rù shǒu， róng rù duì céng zhēn duì yà zhōu、 yóu qí zhēn duì zhōng guó fā dòng liǎo qīn lüè zhàn zhēng de、 jiā hài zhě zhè yī lì chǎng jìn xíng fǎnxǐng。” zhè xiǎn rán shì zài jīng lì liǎo“ guǎng dǎo” de jù dà xǐ lǐ zhī hòu， dà jiāng lì yòng wén xué zhè yī méi jiè shí jiàn rén dào zhù yì lì chǎng de xīn gāo dù。 dāng rán， zhè yě yǔ tā 2006 nián 9 yuè de nán jīng zhī xíng mìqiè xiāng guān héng héng nà shì lìng yī gè“ guǎng dǎo”。 nán jīng dà tú shā jì niàn guǎn lǐ de wén wù、 yǔ xìng cún zhě zhī jiān de tán huà， zhōng guó xué zhě tí dào de“ kuān róng”， shǐ xiān shēng de jīng shén shòu dào liǎo jí dà de cì jī， yě shǐ tā zài cì què xìn zì jǐ zài 2004 nián chéng lì“ jiǔ tiáo huì” de bì yào xìng。 tā yào bǎ zhōng guó rén mín de“ zhè gè kuān róng gào sù rì běn de nián qīng rén。 zuò wéi bèi hài zhě fāng miàn， tā men zài yòng kuān róng lái lǐ jiě hé sī kǎo wèn tí； ér zuò wéi jiā hài zhě fāng miàn， rú guǒ bù néng shēn kè hé rèn zhēn dì sī kǎo zì jǐ de zé rèn， zì jǐ de cán nüè， zì jǐ de qīn lüè， zì jǐ de zuì xíng， zhè zhǒng kuān róng jiù wú fǎ dá dào yuán běn suǒ qī dài de mùdì。” yóu cǐ， dà jiāng de wén xué cí diǎn lǐ yīnggāi huì tiān shàng yī duì xīn cí héng héng kuān róng yǔ fǎnxǐng。 zài tā men de zhù shì zhōng， kěn dìng huì yòu 21 shì jì xīn de dú zhě men héng héng nà xiē yǐ jīng yuǎn lí liǎo“ guǎng dǎo” hé“ nán jīng” de nián qīng de dú zhě men héng héng tōng guò dà jiāng wén xué shì jiè suǒ jiàn lì de xīn de lì shǐ guān。
wēng jiā huì
（ běi jīng dà xué wài guó yǔ xué yuàn rì yǔ xì）
fān kāi《 guǎng dǎo zhá jì》， jiù xiàng shì fān kāi liǎo yī běn dà jiāng wén xué cí diǎn： bēi cǎn、 jué wàng、 fēng kuáng、 qū rǔ、 qī piàn、 kùn jìng、 yǒng qì、 wēi yán、 dào dé、 zhèng tǒng、 zì zhì、 bù qū、 xī wàng …… měi yī gè cí dōuyòu yī duàn dú tè de zhù shì， měi gè zhù shì bèi hòu dū fù dài zhe yī gè huò duō gè guǎng dǎo rén de gù shì。 yòu xiē cí zài bái guāng shǎn guò de yī shùn jiān biàn bèi gēngxīn liǎo dìng yì， yòu xiē zé yào fù chū shēng mìng de dài jià cái néng lǐng wù。《 guǎng dǎo zhá jì》， bù jǐn wéi dà jiāng wén xué zhù rù liǎo quán xīn de nèi róng， tóng shí yě gěi zhè xiē cí huì lào shàng liǎo yī gè dú tè de yìn jì héng héng yuán zì guǎng dǎo。 zhè xiē dài zhe guǎng dǎo yìn jì de cí huì shǐ dé dà jiāng wén xué huò dé liǎo jī jí de lì liàng， bìng shǐ dà jiāng chéngzhǎng wéi yī gè zhēn zhèng de rén dào zhù yì zuò jiā。
zhèng rú xiān shēng zài《 zuò wéi 〈 guǎng dǎo zhá jì 〉 de zuò zhě》 zhōng suǒ shuō， qù guǎng dǎo zhī qián， tā de zhuàng tài shì“ zài xiàn shí shēng huó zhōng jiē jìn bēng kuì， zài wén xué shàng yě shī qù liǎo zì xìn”。 jiù zài tā qù guǎng dǎo de liǎng gè yuè qián， 1963 nián 6 yuè， dài yòu xiān tiān nǎo bù cán jí de dà 'ér zǐ dàn shēng liǎo。 zuò wéi yī gè nián qīng de xīn bà bà， 28 suì de dà jiāng wú yí miàn lín zhe yòu shēng yǐ lái de dì yī gè dà nán tí， ér tā suǒ cóng shì de wén xué shì yè què sī háo wú zhù yú tā jiě jué zhè gè nán tí。 yǔ cǐ tóng shí， zǎo qī zuò pǐn zhōng duì zhèng zhì、 xìng、 jiān jìn zhuàng tài děng zhù tí de tàn suǒ sì hū yě zǒu jìn liǎo sǐ hú tóng， yīn wéi tā yì shí dào zì jǐ“ wèi néng sù zào chū nà zhǒng lèi xíng què shí dú tè de xīn rén xíng xiàng， wèi néng zài zuò pǐn zhōng róng rù jī jí de yì yì bìng xiàng shè huì tuī jiè”。 tā shèn zhì kāi shǐ huái yí， zì jǐ“ cǐ qián yī zhí rè 'ài zhe de wén xué， qí shí zhǐ shì gè yī wú suǒ yòng de dōng xī。 zhè zhǒng wú fǎ zhuǎn huà wéi zì jǐ shēng huó xià qù suǒ xū yào de jī jí lì liàng de xiǎo shuō， zěn me néng gòu chéng wéi yǔ wǒ tóng shí dài de、 shèn zhì gèng wéi nián qīng de nà xiē dú zhě de jīng shén zhī zhù ní？” duì yú wén xué jià zhí běn shēn de zhì yí， lái zì yú dà jiāng wén xué zuì chū de yī gè yuán tóu héng héng sà tè de cún zài zhù yì hé rén dào zhù yì。 1963 nián 4 yuè， sà tè zài jiē shòu《 shì jiè bào》 cǎi fǎng shí， céng jīng tí chū guò zhè yàng yī gè wèn tí：“ zài 'è sǐ de hái zǐ miàn qián， wén xué yòu hé yòng？” sà tè zhù zhāng wén xué jiā yīnggāi jī jí dì“ jiè rù shè huì”， ér yòu fǎn duì zhě zé rèn wéi wén xué bù guò shì gè rén de“ zì wǒ zhěng jiù”。 1963 nián 8 yuè， dà jiāng xiān shēng fā biǎo liǎo zì jǐ de guān diǎn， tā rèn wéi“ zuò wéi yī gè zuò jiā， wǒ de zhí yè gǎn jué gào sù wǒ， wǒ zhǐ néng zài liǎng diǎn zhī jiān zuò dān bǎi yùn dòng”， yě jiù shì shuō， tā rèn wéi zì jǐ de wén xué jì kě yǐ dú shàn qí shēn， yòu néng gòu jiān jì tiān xià。 rán 'ér， zhè gè xiǎng fǎ zài tā jié shù guǎng dǎo zhī xíng hòu， biàn fā shēng liǎo gēn běn xìng de zhuǎn biàn。
jìn guǎn《 shì jiè》 zá zhì yāo qǐng dà jiāng qù guǎng dǎo cǎi fǎng de mù de shì bào dào“ dì jiǔ jiè fǎn duì yuán zǐ dàn qīng dàn shì jiè dà huì”， dàn dà jiāng què hěn kuài jiāng mù guāng jù jiāo dào liǎo guǎng dǎo yuán zǐ bìng yī yuàn de shòu hài zhě shēn shàng， yīn wéi tā yù shàng liǎo yī wèi“ jí wéi chū sè de rén”、 yī gè zhèng tǒng de rén、 yī gè yòu wēi yán de rén héng héng guǎng dǎo yuán zǐ bìng yī yuàn yuàn cháng zhòng téng wén fū bó shì。 zài zhòng téng bó shì de jiè shào zhī xià， dà jiāng jiē chù dào liǎo gè zhǒng gè yàng shēn shòu yuán zǐ dàn hōng zhà zhī kǔ de shòu hài zhě。 tā men de bēi cǎn zì bù dài yán， kě shì tā men zài bēi cǎn de jìng yù zhōng suǒ chí yòu de dú tè de rén shēng guān què lìng dà jiāng shēn gǎn zhèn hàn。 yú shì，《 guǎng dǎo zhá jì》 biàn jù bèi liǎo yī gè qí tā yuán zǐ dàn hōng zhà wén xué zuò pǐn zhōng bìng bù cháng jiàn de tè diǎn héng héng tā yòng hěn shǎo de bǐ mò qù xuàn rǎn bái guāng shǎn guò hòu de rén jiān dì yù tú， fǎn 'ér duì nà xiē zài chén mò zhōng jìn xíng zhe bù qū bù náo dǒu zhēng de rén men de jīng shén shì jiè jìn xíng liǎo shēn rù de pōu xī， bìng yóu cǐ sù zào liǎo yī pī zāo shòu yuán zǐ dàn hōng zhà hòu xīn de guǎng dǎo rén de xíng xiàng。
zuì lìng dà jiāng gǎn dào zhèn hàn de shì yǐ zhòng téng bó shì wéi dài biǎo de、 shǐ zhōng zhàn dǒu zài dì yī xiàn de guǎng dǎo de yī wù gōng zuò zhě。 tā men bù jǐn zài zāo shòu yuán zǐ dàn hōng zhà hòu bù gù zì shēn de shāng tòng， zài dì yī shí jiān zǔ zhì bìng zhǎn kāi jiù yuán xíng dòng， gèng lìng dà jiāng gǎn dào jìng pèi hé gǎn dòng de shì tā men zài cǐ hòu de yī liáo huó dòng zhōng， shǐ zhōng wéi zhēng qǔ yuán zǐ dàn hōng zhà shòu hài zhě de quán lì 'ér jié jìn suǒ néng。 kě yǐ shuō， zài zhòng téng bó shì shēn shàng， dà jiāng kàn dào liǎo yī gè zhēn zhèng de rén dào zhù yì zhě suǒ yìng jù bèi de jiān rèn hé cí bēi， tóng shí， zhòng téng bó shì yě wéi dà jiāng diǎn kāi liǎo yī yè xīn de shì chuāng， shǐ dé tā néng gòu jiè zhù zhòng téng bó shì de yǎn jīng qù jì xù guān zhù yuán zǐ dàn hōng zhà jí qí xiāng guān wèn tí。《 chōng shéng zhá jì》 zhōng duì yú chōng shéng yuán zǐ dàn shòu hài zhě de guān zhù， wú yōng zhuì yán， xiǎn rán shì jiè zhù liǎo dà jiāng de guǎng dǎo jīng yàn。 ér duì chōng shéng wèn tí de sī kǎo， què yòu zhú jiàn zhuǎn biàn chéng liǎo lìng yī gè zhù tí， jí duì bāo kuò dà jiāng zài nèi de rì běn rén de sī kǎo。 háo wú yí wèn， zhòng téng wén fū wéi dà jiāng wén xué cí diǎn zhōng“ zhèng tǒng”、“ wēi yán”、“ bù qū” jiā shàng liǎo xīn de zhù shì， ér tā gèng wéi qiáng dà de lì liàng zé shì tā duì zhōu wéi rén de yǐng xiǎng lì héng héng zhè yī diǎn zài《 guǎng dǎo zhá jì》 zhōng bìng dé dào chōng fēn tǐ xiàn， bù guò zài《 guǎng dǎo zhá jì》 zhī hòu， dà jiāng lù xù fā biǎo de hé“ guǎng dǎo” yòu guān de xiǎo shuō、 píng lùn、 yǎn jiǎng hé duì huà děng chū bǎn wù zhōng， zhòng téng bó shì de xíng xiàng hé sī xiǎng wú chù bù zài。 1971 nián xīn cháo shè chū bǎn de《 duì huà · yuán zǐ dàn bào zhà hòu de rén men》（ hé guǎng dǎo yuán zǐ bìng yī yuàn yuàn cháng zhòng téng wén fū de duì huà） gèng shì zhí jiē bǎ zhòng téng bó shì tuī dào liǎo qián tái。 gēn dà jiāng yī tóng qián wǎng guǎng dǎo jìn xíng cǎi fǎng de《 shì jiè》 zá zhì shè biān ji 'ān jiāng liáng jiè， yě tōng guò zhòng téng bó shì fā xiàn liǎo zì jǐ nèi xīn shēn chù de“ zhì xiàng”， qīn zì tóu shēn dào dōng jīng dū dū zhèng gǎi gé de zhèng zhì huó dòng zhōng。 ér tā zài qián wǎng guǎng dǎo zhī qián， gēn dà jiāng yī yàng， gāng gāng zāo shòu liǎo gè rén shēng huó shàng de yī gè zhòngchuāng héng héng dà nǚ 'ér de qù shì。
rán 'ér， zhòng téng bó shì de rén gé mèi lì bìng fēi zǒng shì néng gòu jiāng xiàn yú kùn jìng de rén zhěng jiù chū jué wàng de ní tán。 jiù zài jiù yuán xiàn chǎng， yī gè nián qīng de yá yī xiàng tā tí chū yī gè wèn tí： zhàn zhēng dū jié shù liǎo， guǎng dǎo rén wèishénme hái yào zāo zhè yàng de zuì？ zhòng téng dà fū yòng chén mò dài tì liǎo huí dá， 30 fēn zhōng hòu， nián qīng de yá yī zì yì shēn wáng。 héng héng dà jiāng zài《 guǎng dǎo zhá jì》 zhōng jì lù de zhè wèi nián qīng dà fū， què yòu qí rén， zhǐ bù guò hé shí jì qíng kuàng shāo yòu chū rù 'ér yǐ。 zài hé zhòng téng bó shì de duì huà zhōng， dà jiāng zài cì tí dào liǎo nà gè nián qīng de zì shā zhě héng héng zuò wéi suǒ yòu xuǎn zé yǐ zì shā jié shù yuán zǐ dàn hōng zhà shòu hài zhě shēn fèn de rén men de yī gè diǎn xíng héng héng yuán lái tā shì gè yǎn kē dà fū， zì shā shí bìng wèi shēn shòu zhòng shāng， yě jiù sān shí sì、 wǔ suì de nián jì。 zhòng téng bó shì yóu yú máng zhe zhì liáo bìng rén， duì tā tí chū de“ huāng dàn de wèn tí” méi yòu gěi chū dá 'àn héng héng shí jì shàng tā zì jǐ xīn zhōng yě méi yòu dá 'àn héng héng zhǐ shì jiào tā zhuān xīn gěi bìng rén kàn bìng， què bù céng liào xiǎng， nà wèi nián qīng de yǎn kē dà fū 30 fēn zhōng hòu， zài bìng fáng de duàn yuán cán bì shàng xún dào yī jié bào lù zài wài de dīng zǐ， guà shàng bēng dài， jié shù liǎo zì jǐ de shēng mìng。 dà jiāng xiān shēng tuī cè，“ qīng nián zhī suǒ yǐ yīn jué wàng 'ér zì yì， hěn kě néng shì yóu yú tā yǐ jīng yì shí dào， zhè wèi lǎo yī shēng de chén mò， bìng bù jǐn jǐn shì tā gè rén de chén mò， nà shì quán rén lèi de chén mò。” bā nián zhī hòu， dāng dà jiāng xiān shēng hé zhòng téng bó shì zài cì tán dào zhè wèi qīng nián yī shēng shí， zhòng téng bó shì hái wèicǐ shì shēn gǎn nèi jiù hé 'ào huǐ。
cóng zhè wèi zì shā de qīng nián yī shēng shēn shàng， wǒ men sì hū yǐn yuē kàn dào liǎo qián wǎng guǎng dǎo shí qīng nián dà jiāng liǎn shàng kǒng jù hé jué wàng。 bù mǎn bǎi tiān de dà 'ér zǐ zhèng tǎng zài yī yuàn de tè hù bìng fáng yǔ sǐ shén bó dǒu， zuò wéi fù qīn， tā bì xū yào zuò chū yī gè xìng mìng yōu guān de jué dìng héng héng shì fǒu duì hái zǐ nǎo bù de dà liú zǐ zuò yī gè shǒu shù。 kě yǐ shuō， zài qù guǎng dǎo zhī qián， tā de nèi xīn bèi zhēngzhá yǔ máo dùn de xiǎo chóng hěn hěn dì niè shí。 céng yòu dōng dà de shī xiōng héng héng yī gè nián qīng de dà fū héng héng jiàn yì tā fàng qì zhè gè hái zǐ， yīn wéi jí shǐ dòng wán shǒu shù， yě huì liú xià cán jí， ér bù zuò shǒu shù， rèn qí fā zhǎn de huà， hěn kě néng huó bù cháng jiǔ。 duì yú chū wéi rén fù de dà jiāng 'ér yán， zhè wú yí shì yī gè jù dà de rén shēng wēi jī。 dāng tā de shǒu zhōng zhǎng wò zhe lìng yī gè shēng mìng héng héng zì jǐ de qīn gǔ ròu héng héng de shēng shā dà quán de shí hòu， méi yòu rén kě yǐ bāng tā lái zuò zhè gè jué dìng。 jí biàn shì zài yī xué jì shù fā zhǎn rì xīn yuè yì de jīn tiān， jí biàn méi yòu rèn hé yí chuán shàng de yuán yīn， réng rán wú fǎ bì miǎn cán jí 'ér huì yǐ 5% zuǒ yòu de gàilǜ jiàng shēng dào zhè gè shì jiè。 zhè zhǒng“ háo wú dào lǐ de jù dà zāi hài de xí jī”， jìn guǎn shì“ gè rén guī mó” de， qí suǒ zào chéng de jiēguǒ què shì ràng rén shēng bù rú sǐ， zài jí dù tòng kǔ zhōng zǒu xiàng zì wǒ huǐ miè。 háo wú yí wèn， nián qīng de yá yī wú fǎ chéng shòu zhè yàng de jiēguǒ， xuǎn zé liǎo gèng wéi qīng sōng de fāng shì lái huí dá zì jǐ tí chū de wèn tí。 ér dà jiāng zài lí kāi guǎng dǎo zhī hòu què zuò chū liǎo yī gè yǐng xiǎng tā yī shēng de jué dìng héng héng gēn cán jí 'ér gòng tóng shēng huó xià qù。 tā shuō：“ miàn duì ‘ zhè gè kě lián de xiǎo dōng xī ’， wǒ jué dìng yào chéng wéi yī gè zhèng rén， zhèng míng tā huó guò、 cún zài guò， yě jiù shì shuō， wǒ jué dìng hǎohǎo jiē shòu zhè gè hái zǐ， gēn tā yī qǐ shēng huó。 ér qiě， wǒ dāng shí jiù yù gǎn dào， wǒ de zhèng cí kěn dìng huì chéng wéi wǒ yī shēng de wén xué。” zhè yě jiù shì wǒ men zài zhī hòu de zuò pǐn zhōng bù duàn kàn dào cán jí 'ér chéngzhǎng de yuán yīn， cóng guǎng dǎo huí lái zhī hòu， dà jiāng chuàng zuò liǎo cháng piān xiǎo shuō《 gè rén de tǐ yàn》， bìng yóu cǐ kāi shǐ liǎo“ yǔ cán jí 'ér gòng shēng” zhè yī zhù tí de wén xué chuàng zuò。
《 guǎng dǎo zhá jì》 jì lù liǎo wú shù jiān qiáng yǒng gǎn de yuán zǐ dàn hōng zhà shòu hài zhě de xíng xiàng， tā men de rén shēng jīng lì gè yì、 xìng gé guān niàn bù tóng， què yīn wéi yuán zǐ dàn hōng zhà 'ér bèi lào shàng liǎo xiāng tóng de jì hào héng héng“ guǎng dǎo”， bìng yīn cǐ 'ér jī huó liǎo qián cáng yú nèi xīn shēn chù rén xìng zuì wán qiáng、 zuì jiān rèn de pǐn zhì。 yóu qí shì tā men miàn duì wú bǐ tòng kǔ de yuán zǐ bìng（ yīn shòu yuán zǐ dàn hōng zhà yǐng xiǎng suǒ chǎn shēng de bìng biàn， zhū rú zhì lì chí dùn de“ chī dāi”、 rǎn sè tǐ“ jī biàn” de bù yù zhèng、 ái zhèng、 bái xuè bìng、 gǔ suǐ liú， yǐ jí qí tā hǎn jiàn de xuè yè bìng děng màn xìng bìng biàn） suǒ dài lái de kǒng jù shí suǒ biǎo xiàn chū lái de yǒng qì， gèng shì lìng rén wú yán yǐ duì。 gèng jiā lìng rén 'ě wàn tàn xī de hái yòu chū shēng yú zhàn hòu、 bìng wèi jīng lì guò yuán zǐ dàn hōng zhà， què tóng yàng wèicǐ fù chū shēng mìng dài jià de yī gè nián qīng gū niàn。 tā de liàn rén zài 4 suì shí zāo dào yuán zǐ dàn hōng zhà， zhǎngdà hòu fā xiàn lí huàn bái xuè bìng， liǎng rén dìng hūn hòu bù jiǔ， liàn rén biàn yīn bìng cí shì。 tā bù rěn dú huó， xuǎn zé liǎo xùn qíng zì shā。 tā duì liàn rén de bìng qíng zǎo jiù zhī xiǎo， què yǐ rán yǔ tā xiāng zhī xiāng liàn， shēng sǐ yǔ gòng。 tā suǒ zuò de yī qiē“ bù hán sī háo de zì wǒ xī shēng jīng shén， yī qiēdōu shì yuán yú 'ài、 yā dǎo yī qiē de、 qiáng liè de 'ài。 zhè zhǒng qiáng liè de 'ài， yě kě yǐ tì huàn chéng yī zhǒng qiáng liè de hèn， duì wǒ men zhè xiē xìng cún zhě de、 duì wǒ men zhèng zhì de qiáng liè de hèn。” kě shì， tā què méi yòu zhè yàng zuò，“ tā yǐ guó jiā xī shēng pǐn de róu ruò zī tài， duì guó jiā de bēi liè qī piàn héng héng shí jì shàng bāo kuò guó jiā de qī piàn hé suǒ yòu xìng cún zhě de qī piàn héng héng jǐyǔ liǎo zhì mìng de dǎ jī。” zhè gè chū shēng yú zhàn hòu， yǔ yuán zǐ dàn hōng zhà méi yòu rèn hé guān xì de gū niàn， tā suǒ zuò de zuì zhōng xuǎn zé gěi rén de zhèn hàn yǔ qí shuō shì gǎn dòng， bù rú shuō shì jìng zhòng， yīn wéi“ tā zuì dà xiàn duódì zuò dào liǎo， yī gè rén， duì yī gè sǐ yú yuán zǐ bìng de qīng nián， suǒ néng zuò dào de yī qiē”。
jìn guǎn dà jiāng xiān shēng zài《 guǎng dǎo zhá jì》 zhōng jì lù liǎo wú shù lèi shìde bēi cǎn 'ér gǎn rén de gù shì， dàn shì， tā zài qí hòu jīng cháng tí dào de què shì shàng wén zhōng nà wèi bù kān jīng shén zhòng fù xuǎn zé zì yì shēn wáng de nián qīng yī shēng。 jiù zài qù nián， jí 2008 nián 2 yuè， zài dōng jīng xīn sù zhào kāi de shì jiè bǐ huì lùn tán shàng， tā zuò liǎo tí wéi“ miàn xiàng‘ zuò wéi yì zhì xíng wéi de lè guān zhù yì’” de jiǎng yǎn。 qí zhōng zài cì tán dào liǎo zhè wèi yǎn kē yī shēng de zì shā yǐ jí cóng tā shēn shàng yìng zhào chū lái de dà jiāng dāng shí de xīn lǐ zhuàng tài。 jìn guǎn zài《 guǎng dǎo zhá jì》 zhōng duì yǎn kē yī shēng de miáo xiě zhǐ shì dàn dàn gòu lè， dàn shì， suí zhe zhòng téng bó shì duì dì 'èr dài yuán zǐ bìng yán jiū gōng zuò de shēn rù kāi zhǎn， dà jiāng sì hū zài tì nà wèi hái wèi mù dǔ gèng jiā kǒng jù、 gèng jiā jué wàng de“ guǎng dǎo” jiù xiān xíng tuì chǎng de yī shēng， jiàn zhèng suǒ yòu zhèng zài fā shēng de、 yù cè yī qiē jí jiāng fā shēng de guǎng dǎo de gù shì。
nà me， jiū jìng shì“ guǎng dǎo” gǎi biàn liǎo dà jiāng， hái shì dà jiāng jiāng“ guǎng dǎo” tuī xiàng liǎo shì jiè， liǎng zhě zhī jiān sì hū shì gè xiāng fǔ xiāng chéng de guān xì。 jìn guǎn dà jiāng xiān shēng huí yì guǎng dǎo zhī xíng shí shuō zì jǐ zài nà lǐ shòu dào liǎo“ nà yàng yī xiē rén jí wéi kuān róng de jiē dài”， shì tā“ yī shēng zuì dà de xìng yùn”， dàn shì， cóng lìng yī gè jiǎo dù lái kàn， zhè yě zhèng hǎo shuō míng liǎo dà jiāng xiān shēng shēn shàng suǒ jù bèi de mǒu zhǒng xìng gé tè zhì， zài zhòng téng bó shì de“ zhèng tǒng”、“ wēi yán”、“ bù qū” děng tè zhì de hū huàn xià pēn bó 'ér chū， yǔ qí xiāng hù huī yìng， chéng wéi cù shǐ tā jiāng shēn cáng zài“ nèi xīn shēn chù de、 mǒu zhǒng shén jīng shuāi ruò de miáo tóu hé tuí fèi de sī xiǎng lián gēn bá qǐ” de lì liàng。 sì shí duō nián hòu， dāng xiān shēng huí shǒu wǎng shì shí， tā zài《 kǒu shù zìzhuàn》 zhōng tí dào， zì jǐ de shēn shàng cún zài zhe mǒu zhǒng lè guān de dōng xī， suī rán píng shí zǒng shì gǎn dào bēi guān， kě yī dàn yù shàng shí jì kùn nán， biàn huì duān zhèng tài dù， rèn zhēn duì dài。 suǒ yǐ， jiù zài cán jí 'ér chū shēng de nà duàn shí jiān， tā cóng zì jǐ zhèng zài yuè dú de xī méng nà · wéi yī de zuò pǐn zhōng zhǎo dào liǎo yī zé yīn niǔ tè rén de yù yán，“ shuō de shì shì jiè gāng kāi shǐ nà huì 'ér， zhè dà dì shàng yòu wū yā， zhuó shí luò zài dì miàn shàng de dòu zǐ， dàn shì zhōu wéi yī piàn qī hēi， wú fǎ kàn qīng chǔ 'ěr liào。 yú shì nà wū yā jiù zài xiǎng，‘ zhè shì jiè shàng ruò shì yòu guāng liàng de huā， zhuó shí qǐ lái gāi yòu duō me fāng biàn yā’。 jiù zài wū yā zhè me xiǎng de shùn jiān， shì jiè biàn chōng mǎn liǎo guāng liàng。” cóng zhè běn shū zhōng dé dào líng gǎn， tā gěi hái zǐ qǔ liǎo gè míng zì jiào“ wū yā”， jiēguǒ rě dé mǔ qīn hěn nǎo huǒ。 dāng rán， zuì hòu tā hái shì xuǎn zé liǎo“ guāng” zuò wéi xīn shēng 'ér de míng zì， bìng zài tè hù bìng fáng lǐ zhù shì zhe tóu shàng dǐng zhe gè dà liú， què mǎn miàn hóng guāng， yī tiān tiān xùn sù chéngzhǎng de 'ér zǐ shí， gǎn dào zì jǐ gěi tā qǔ liǎo yī gè zhèng què de míng zì héng héng shè fǎ cháo zhe guāng míng de fāng xiàng qián xíng。 jiēguǒ yě shì rú cǐ， dà jiāng guāng chéng liǎo yī míng jiā yù hù xiǎo de yīnyuè jiā。
miàn duì xīn yī dài de zhōng guó dú zhě， dà jiāng xiān shēng bǎ《 guǎng dǎo zhá jì》 jiè shào wéi“ wǒ shēng yá zhōng de wén xué zhī quán bù de zhēn zhèng chū fā diǎn”。 zhè yī dìng wèi， duì yú 1963 nián de tā 'ér yán， wán quán hé shì， ér duì yú 21 shì jì de zhōng guó dú zhě， què yòu tiān jiā liǎo xīn de yì yì。 yīn wéi tā hái shuō dào：“ bù néng zhǐ cóng bèi hài zhě de lì chǎng lái kàn dài zhè xiē zāinàn， hái yào cóng dǎo zhì tóu xià yuán zǐ dàn de rì běn jūn guó zhù yì tǐ zhì zhī pī pàn rù shǒu， róng rù duì céng zhēn duì yà zhōu、 yóu qí zhēn duì zhōng guó fā dòng liǎo qīn lüè zhàn zhēng de、 jiā hài zhě zhè yī lì chǎng jìn xíng fǎnxǐng。” zhè xiǎn rán shì zài jīng lì liǎo“ guǎng dǎo” de jù dà xǐ lǐ zhī hòu， dà jiāng lì yòng wén xué zhè yī méi jiè shí jiàn rén dào zhù yì lì chǎng de xīn gāo dù。 dāng rán， zhè yě yǔ tā 2006 nián 9 yuè de nán jīng zhī xíng mìqiè xiāng guān héng héng nà shì lìng yī gè“ guǎng dǎo”。 nán jīng dà tú shā jì niàn guǎn lǐ de wén wù、 yǔ xìng cún zhě zhī jiān de tán huà， zhōng guó xué zhě tí dào de“ kuān róng”， shǐ xiān shēng de jīng shén shòu dào liǎo jí dà de cì jī， yě shǐ tā zài cì què xìn zì jǐ zài 2004 nián chéng lì“ jiǔ tiáo huì” de bì yào xìng。 tā yào bǎ zhōng guó rén mín de“ zhè gè kuān róng gào sù rì běn de nián qīng rén。 zuò wéi bèi hài zhě fāng miàn， tā men zài yòng kuān róng lái lǐ jiě hé sī kǎo wèn tí； ér zuò wéi jiā hài zhě fāng miàn， rú guǒ bù néng shēn kè hé rèn zhēn dì sī kǎo zì jǐ de zé rèn， zì jǐ de cán nüè， zì jǐ de qīn lüè， zì jǐ de zuì xíng， zhè zhǒng kuān róng jiù wú fǎ dá dào yuán běn suǒ qī dài de mùdì。” yóu cǐ， dà jiāng de wén xué cí diǎn lǐ yīnggāi huì tiān shàng yī duì xīn cí héng héng kuān róng yǔ fǎnxǐng。 zài tā men de zhù shì zhōng， kěn dìng huì yòu 21 shì jì xīn de dú zhě men héng héng nà xiē yǐ jīng yuǎn lí liǎo“ guǎng dǎo” hé“ nán jīng” de nián qīng de dú zhě men héng héng tōng guò dà jiāng wén xué shì jiè suǒ jiàn lì de xīn de lì shǐ guān。
《 gè rén de tǐ yàn》 hé《 wàn yán yuán nián de zú qiú duì》 zhè liǎng bù nuò bèi 'ěr wén xué jiǎng de huò jiǎng zuò pǐn dōuyòu yī tiáo xiāng tóng de guàn chuān shǐ zhōng de qíng jié xiàn suǒ： jí zhù rén gōng zài xiàn shí kùn jìng zhōng kǔ kǔ zhēngzhá， lì tú xún zhǎo yī tiáo zì wǒ jiě jiù de xīn shēng zhī lù。 zhí dé zhù yì de shì， zhè liǎng bù zuò pǐn yǔ tā gèng zǎo qī de zuò pǐn xiāng bǐ， zhù rén gōng shēng cún kùn jìng de xìng zhì hé tā men zuì hòu de jié jú yǐ jīng yòu liǎo zhòng dà de biàn huà。 zài《 qí miào de gōng zuò》、《 sǐ zhě de shē huá》 děng zhè lèi dà jiāng zǎo nián de zuò pǐn zhōng， zhù rén gōng men de shēng huó yī bān méi yòu yù shàng shénme tiān dà de zāinàn， tā men zhǐ shì duì zì jǐ suǒ chù de jìng kuàng gǎn dào kùn huò， wú cóng jìn xíng zì wǒ cún zài díquè rèn。 tā men suī rán xīn yóu bù gān， pīn mìng dì láng bēn shǐ tū， zuò kùn shòu yóu dǒu， rú《 xìng de rén》 zhōng de J hé《 wǒ men de shí dài》 zhōng de“ bù xìng de nián qīng rén” men， dàn shì zuì zhōng de jié jú， hái shì pái huái yú yī piàn máng rán de kùn jìng lǐ wú cóng jiě tuō， shǐ rén gǎn dào chén zhòng de yā yì， gǎn dào gèng dà de mí wǎng， ér niǎo hé mì sān láng men zé dōunéng zài kàn sì chè dǐ jué wàng de kùn jìng zhōng， yáo yáo huàng huàng dì tǐng qǐ shēn lái， bìng zài zì wǒ què rèn hòu cóng xīn dǐ lǐ zī shēng zhí miàn rén shēng de xìn xīn hé yǒng qì， jìn 'ér huò dé liǎo zì wǒ de xīn shēng， zuò pǐn yě yīn cǐ yòu liǎo yī gè gǔ wǔ rén xīn de guāng míng jié jú。 chǎn shēng zhè zhǒng guāng míng jié jú de gēn běn yuán yīn， kě néng bìng bù zài yú zhù rén gōng de zì shēn xìng gé， ér shì yóu yú niǎo hé mì sān láng men suǒ miàn duì de， shì yī gè yǐ yǔ zì jǐ xuè ròu xiāng lián de cán jí 'ér wéi jù tǐ biǎo zhēng de cún zài kùn jìng。 wèile chōng fēn wā jué cán jí 'ér zhù tí de shěn měi jià zhí， dà jiāng jiàn sān láng duì cán jí 'ér xíng xiàng yòu diǎn qiè 'ér bùshě de zhí zhe。 zhè gè cán jí 'ér yòu shí yǐ“ xùn 'ér” de míng zì chū xiàn zài《 hóng shuǐ yǒng shàng wǒ de líng hún》， yòu shí zé yǐ“ yì me” shēn fèn zài《 xīn rén 'ā， xǐng lái bā》 zhōng dēng chǎng， bāo kuò dà jiāng wǎn jìn chuàng zuò de cháng piān jù zhì《 rán shāo de lǜ shù》、《 kōng fān》 zhōng， tā réng pín fán xiàn shēn。
zuò zhě zài 1963 nián yǐ hòu fā biǎo de zuò pǐn dà duō yǐ cán jí rén hé hé wèn tí wéi zhù yào tí cái， jù yòu jiào nóng hòu de rén dào zhù yì qīng xiàng。 jiù qí yì shù tè sè 'ér yán， zài gèng chéng shú dì jiè jiàn xī fāng xiàn dài pài wén xué jì qiǎo de tóng shí， chōng fēn yùn yòng rì běn wén xué chuán tǒng zhōng de xiǎng xiàng， bǎ xiàn shí yǔ xū gòu qiǎo miào dì jié hé zài yī qǐ。 zhè yī shí qī de zhù yào zuò pǐn hái yòu《 rì cháng shēng huó de mào xiǎn》 (1964 nián )、《 hé shí dài de sēn lín yǐn dùn zhě》 (1968 nián )、《 hóng shuǐ yānmò wǒ de líng hún》 (1968 nián ) děng cháng piān xiǎo shuō。
tā jié hūn hòu， dì yī gè hái zǐ shì nǎo gōng néng zhàng 'ài 'ér， qǔ míng guāng。 guāng yī chū shēng jiù chù zài bīn sǐ de zhuàng tài， zhěng tiān
tǎng zài tè shū de bō lí xiāng lǐ， dà jiāng miàn duì zì jǐ de háo wú shēng cún xī wàng de chū shēng yīng 'ér， céng jīng duì guāng de shēng yǔ sǐ
zuò guò tòng kǔ de xuǎn zé。 dàn shì tā měi tiān dū qù yī yuàn gé zhe bō lí chuāng tàn shì， wàng zhe hái zǐ nà gè nǎo dài， nà zhāng liǎn
。 tā xiǎng qǐ zhé rén 'āi lì yà dài de huà：“ rén lèi shēng cún shì bù kě néng bèi pò huài de”， jiù péi yǎng qǐ yī zhǒng jiān dìng de
xiǎng fǎ：“ jì shēng zhī zé yǎng zhī”。 jǐ gè xīng qī guò qù liǎo， yīng 'ér hái huó zhe， tā què shí shì cún zài xià lái liǎo。 yú
shì tā zhí miàn tòng kǔ de zì jué zhī hòu， jiē shòu liǎo zhè gè hái zǐ cún zài de shì shí。 guāng suī rán shēng cún xià lái， dàn shì yòu nián
de guāng tīng bù dǒng rén lèi de yǔ yán。 tā 6 suì nà nián， dà jiāng dài tā qù sēn lín shān zhōng xiǎo wū xiǎo bó， tā tīng jiàn lín jiān chuán
lái niǎo shēng， jìng duì niǎo 'ér de gē shēng zuò chū yì xiǎng bù dào de fǎn yìng， dì yī cì yòng rén lèi de yǔ yán shuō chū：“ zhè shì…
… shuǐ niǎo”。 yú shì dà jiāng kàn dào liǎo xī wàng， quán shēn xīn dì péi yǎng tā xué xí zuòqǔ， ràng tā bǎ xiǎo niǎo de gē shēng yú rén
lèi suǒ chuàng zào de yīnyuè jié hé， zǒu xiàng bā hè hé mò zhā tè de yīnyuè shì jiè， bìng zài qí zhōng chéngzhǎng wéi yī gè zuòqǔ jiā。
dà jiāng yóu cǐ gǎn shòu dào 'ér zǐ wéi zì jǐ shí xiàn liǎo zì jǐ yòu shí de néng gòu tīng dǒng niǎo lèi yǔ yán de yù yán。 zhè gè“ kě bēi
de xiǎo shēng mìng” dàn shēng de yì wài shì jiàn， yǐ jí cóng guāng de yīnyuè zhōng gǎn shòu dào“ yīn 'àn líng hún de kū hǎn shēng”， hòu lái
chéng wéi dà jiāng jiàn sān láng de wén xué shēng yá de yī gè zǔ chéng bù fēn， cóng《 gè rén de tǐ yàn》 dào《 rán shāo de lǜ shù》 dū
jiāng jiāo diǎn duì zhǔn tā hé nǎo gōng néng zhàng 'ài de 'ér zǐ zhī jiān gòng shēng de gǎn qíng， bìng yǐn fā chū tā de suí bǐ jí《 shēng de dìng yì
》。
tǎng zài tè shū de bō lí xiāng lǐ， dà jiāng miàn duì zì jǐ de háo wú shēng cún xī wàng de chū shēng yīng 'ér， céng jīng duì guāng de shēng yǔ sǐ
zuò guò tòng kǔ de xuǎn zé。 dàn shì tā měi tiān dū qù yī yuàn gé zhe bō lí chuāng tàn shì， wàng zhe hái zǐ nà gè nǎo dài， nà zhāng liǎn
。 tā xiǎng qǐ zhé rén 'āi lì yà dài de huà：“ rén lèi shēng cún shì bù kě néng bèi pò huài de”， jiù péi yǎng qǐ yī zhǒng jiān dìng de
xiǎng fǎ：“ jì shēng zhī zé yǎng zhī”。 jǐ gè xīng qī guò qù liǎo， yīng 'ér hái huó zhe， tā què shí shì cún zài xià lái liǎo。 yú
shì tā zhí miàn tòng kǔ de zì jué zhī hòu， jiē shòu liǎo zhè gè hái zǐ cún zài de shì shí。 guāng suī rán shēng cún xià lái， dàn shì yòu nián
de guāng tīng bù dǒng rén lèi de yǔ yán。 tā 6 suì nà nián， dà jiāng dài tā qù sēn lín shān zhōng xiǎo wū xiǎo bó， tā tīng jiàn lín jiān chuán
lái niǎo shēng， jìng duì niǎo 'ér de gē shēng zuò chū yì xiǎng bù dào de fǎn yìng， dì yī cì yòng rén lèi de yǔ yán shuō chū：“ zhè shì…
… shuǐ niǎo”。 yú shì dà jiāng kàn dào liǎo xī wàng， quán shēn xīn dì péi yǎng tā xué xí zuòqǔ， ràng tā bǎ xiǎo niǎo de gē shēng yú rén
lèi suǒ chuàng zào de yīnyuè jié hé， zǒu xiàng bā hè hé mò zhā tè de yīnyuè shì jiè， bìng zài qí zhōng chéngzhǎng wéi yī gè zuòqǔ jiā。
dà jiāng yóu cǐ gǎn shòu dào 'ér zǐ wéi zì jǐ shí xiàn liǎo zì jǐ yòu shí de néng gòu tīng dǒng niǎo lèi yǔ yán de yù yán。 zhè gè“ kě bēi
de xiǎo shēng mìng” dàn shēng de yì wài shì jiàn， yǐ jí cóng guāng de yīnyuè zhōng gǎn shòu dào“ yīn 'àn líng hún de kū hǎn shēng”， hòu lái
chéng wéi dà jiāng jiàn sān láng de wén xué shēng yá de yī gè zǔ chéng bù fēn， cóng《 gè rén de tǐ yàn》 dào《 rán shāo de lǜ shù》 dū
jiāng jiāo diǎn duì zhǔn tā hé nǎo gōng néng zhàng 'ài de 'ér zǐ zhī jiān gòng shēng de gǎn qíng， bìng yǐn fā chū tā de suí bǐ jí《 shēng de dìng yì
》。