Author: Pan Yuting / Country: Mainland China
Publisher:
Publish Date: 2006-06-01
Features: Environmental descriptions can imply a character's social status. For example, in Cao Xueqin's Dream of the Red Chamber, the description of Qin Keqing's bedroom reads: "Looking at the walls of the room, there were 'Spring Sleep of the Peach Blossom' painted by Tang Bohu, with a couplet written by Qin Tai xu of the Song Dynasty on both sides: 'A gentle chill locks the dream because of spring's cold, and a fragrant scent invades one, like the fragrance of wine.'" On the desk was a mirror set in the former mirror room of Empress Wu Zetian. On one side were gold plates with the image of Zhao Feiyang dancing, containing a pomegranate thrown by An Lushan that injured Yang Guifei's breast. Above was a bed where Princess Shouchang slept under the Han Chamber, with a linked pearl curtain made by Princess Tongchang. This environmental description reveals the host's status everywhere: a favored young woman in a feudal family. The names like "Empress Wu," "Zhao Feiyang," and "Taizhen" (Yang Guifei) actually imply the host's unrestrained life.
Environmental descriptions can reflect a character's psychology and inner emotions. In Lu Xun's , the opening passage describes the scenery: "It was already deep winter when nearing my hometown, and the weather grew gloomy. A cold wind blew into the boat cabin, whistling, and from the gap in the canopy, I could see a few desolate villages stretching across the yellowish sky, devoid of vitality." This environmental description gives the impression of coldness and sorrow, which aligns perfectly with the narrator's mood upon returning to their hometown. In fact, it is a reflection of the narrator's inner emotions.
Environmental descriptions are an integral part of character portrayal. When used appropriately, they can better enhance a character's image and reveal the theme of the work. So, how should environmental descriptions be conducted? , one can describe the overall scene to create a certain atmosphere. In Lu Xun's The, the opening vividly depicts the festive atmosphere of the village of Luzhen: 'Grey-white, heavy evening clouds occasionally flashed with light, followed by a dull boom—the firecrackers for the Kitchen God. Closer by, the explosions were even more intense, the deafening sound still lingering as the air was filled with the faint scent of gunpowder.'" The author creates a joyful and harmonious festive atmosphere for the New Year's blessing, using descriptions from the visual, auditory, and olfactory perspectives to immerse the reader in the scene. Yet amid this joy, the news of Xianglinbu's death is heard. P246
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