The Bridge (Part One)
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Summary
Mr. Fei Ming wrote this novel in November of the 14th year. He said that The Bridge taught him how to write and how to understand things. The original book divided The Bridge into two parts, upper and lower, and it has been published many times since, with many changes. Fei Ming's fiction is famous for its "prose-like" quality, fusing the prose of the Six Dynasties, Tang poetry, Song ci, and modernist ideas into one, with concise diction and deep, subtle scenes, plain and unadorned, yet also possessing a beauty that is raw, pungent, and uncommon. Fei Ming's Zen Buddhist thought is also embodied in his works. The Bridge is the representative work of his first stage; in this period, Fei Ming's fiction as a whole stands apart from reality and social issues, and it is almost impossible to find in it the writer's sorrow or protest regarding real life.
Editor's review
The upper part of The Bridge is the representative work of Fei Ming's first stage of creation, and it most reveals the unique texture of his "prose-like" fiction. The book does not advance through plot, but links chapters through concise diction and deep, subtle scenes, fusing the clarity and severity of Six Dynasties prose, the imagery of Tang poetry and Song ci, and modernist ideas into one; it reads as plain and unadorned, yet on close tasting produces a beauty that is uncommon and strange. Fei Ming said himself that this book taught him how to write and how to understand things, which shows its weight within the author's own system. Zen thought permeates between characters and scenery, giving everyday writing a sense of transcendence. It should be noted that in this period Fei Ming deliberately kept away from reality and social issues, and the work almost carries no sorrow or protest regarding real life; its value therefore lies not in social critique, but in language experiment and the creation of mood. It suits readers willing to read slowly and who value atmosphere and verbal interest; tasted chapter by chapter in quiet hours, its merits are better appreciated than by chasing the story.
Who it's for
A good fit for
- Readers who love prose-like fiction in modern literary history and value language texture
- Research-oriented readers interested in Fei Ming's creative style and Zen flavor
- Literary enthusiasts willing to read slowly and savor closely, not dependent on strong plot
- Students of modern and contemporary literature, using it as a staged text for stylistic analysis
Not a good fit for
- Readers accustomed to strong plot and fast-paced narrative who seek story conflict
- Readers hoping to find reality critique and concern for social issues in the novel
- Beginning readers lacking patience for classicalized, concise, and obscure prose
Reading tips
- First read one chapter through to feel the rhythm of the language, then go back and reread, noting how scenery and mood connect
- Keep a notebook and jot down passages that embody Zen or poetic treatment, to help grasp the style as a whole
- Do not force plot coherence; read in scattered sessions by chapter, one or two chapters at a time
- Read alongside Fei Ming's other first-stage works to appreciate the stable features of his "prose-like" method
Contents
- 版权信息
- 序
- 上篇
- 第一回
- 金银花
- 史家庄
- 井
- 落日
- 洲
- 猫
- 万寿宫
- 闹学
- 芭茅
- 狮子的影子
- “送牛”
- “松树脚下”
- 习字
- 花
- “送路灯”
- 瞳人
- 碑
- 下篇
- “第一的哭处”
- “且听下回分解”
- 灯
- 日记
- 棕榈
- 沙滩
- 杨柳
- 黄昏
- 灯笼
- 清明
- 路上
- 茶铺
- 花红山
- 箫
- 诗
- 天井
- 今天下雨
- 桥
- 八丈亭
- 枫树
- 梨花白
- 树
- 塔
- 故事
- 桃林
FAQ
Is this book strongly story-driven, and does it need to be read in order?
The Bridge is not notable for plot advancement; it is closer to a linking of prose-like chapters, and its story quality is weak. Reading in the original order helps in feeling the unfolding of structure and style, but reading individual chapters independently will not cause comprehension problems, and readers may arrange according to their own pace.
Can I read it without a foundation in classical Chinese?
The diction in the book is concise and bears traces of Six Dynasties prose and poetic allusion, but it is not strictly classical Chinese. Readers with general modern Chinese reading ability can read it through, though at first they may find the pace slow and the sentences plain; it is suggested to read one or two chapters first to adapt to the feel of the language, then continue in depth.
Why is it said that this novel stands apart from reality and social issues?
According to the materials, Fei Ming's fiction in this period as a whole stands apart from reality and social issues, and it is almost impossible to find the writer's sorrow or protest regarding real life. This is an important premise for understanding The Bridge: its focus is on language, mood, and Zen thought, not social critique, and readers should not demand it with the expectations of realistic fiction.
Will the Zen thought embodied in the book affect understanding?
Zen thought permeates the scenes and character writing of the work, forming its deep, pale, and distant undertone, but it is not presented in a theoretical way. Readers need not first possess Buddhist knowledge; it is enough to note the sense of transcendence and quiet observation between the lines. If interested in the relevant background, they may learn about it separately after reading.
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About the author
Fei Ming (Feng Wenbing)
Author · Chinese · 1901–1967
Fei Ming (1901–1967), originally named Feng Wenbing, was a native of Huangmei, Hubei, and a modern Chinese writer, poet and scholar, regarded as a representative figure of the Beijing School of literature. His fiction is known for its poetic, essay-like style, with representative works including Bamboo Grove Stories, Peach Orchard, Jujubes, Bridge and The Story of Mr. Moshu. He long engaged in teaching and research, having taught at Peking University and Jilin University and served as vice chairman of the Jilin Provincial Federation of Literary and Art Circles. This library holds 23 of his works, covering classics, literary appreciation, social fiction, classical literature, classical poetry and modern poetry, showing that beyond creative writing he also left lecture manuscripts on classical literature and new poetry.
