Writer 1978: I Need to Give the Literary World a Lesson

Chapter 380 The Trilogy of the Times

Liu Yimin sat in Cao Yu's office, sipping tea and quietly waiting for Cao Yu to finish reading "The Best Restaurant Under Heaven".

Cao Yu only read the beginning and didn't pay attention to the content. Instead, he compared Quanjude, represented by "The Best Restaurant Under Heaven," with Fengzeyuan, represented by "The Legendary Manager."

I thought that when Fengzeyuan saw this article, they would probably be thinking to themselves, "We haven't been gloating for long, and now the novel has directly elevated Quanjude's reputation to the best in the world."

"The Best Restaurant Under Heaven" is set against the backdrop of Quanjude in the early years of the Republic of China, when the once-prosperous Peking duck restaurant Quanjude was facing a difficult time.

The manager, Tang Deyuan, was old and ill and unable to manage the daily affairs of Quanjude, so he had to step down and hand over the restaurant to his two sons and the second-in-command, Wang Zixi.

Unfortunately, neither of his sons had any business acumen. The two spoiled brats each had their own interests: the elder son was fond of the theater, while the younger son was passionate about martial arts and wanted to be a knight-errant, causing chaos throughout the restaurant.

The waiters and cooks worked hard all year, but in the end, they couldn't make ends meet; the accounts were full of expenses incurred by the two young managers for their own enjoyment. Seeing the restaurant's decline, the second manager, Prince Xi, recommended his friend Lu Mengshi to the old manager.

Before the old shopkeeper breathed his last, he finally shouted, "Go quickly and invite Lu Mengshi!"

After Lu Mengshi arrived, he relied on his cleverness and together with Chang Gui, the best waiter in Beiping, Luo Datou, the roast duck master, and Liu Jinding, the imperial chef, he made Quanjude a resounding success.

"The Best Restaurant Under Heaven" was originally a play script by the Beijing People's Art Theatre, and its fame within the theatre and in the theatre world is second only to "Teahouse".

The Yanjing People's Art Theatre is, after all, the Yanjing People's Art Theatre Troupe. Although other plays may have good scripts, they must have their own characteristics and the unique atmosphere of Yanjing.

This play achieved its status because it helped the Beijing People's Art Theatre stabilize its influence in the national drama scene when the theatre was in decline, and it is known as a work that revitalized the theatre.

Just like in "The Legendary Shopkeeper," Quanjude in "The Best Restaurant Under Heaven" also sets up an eight-immortal table to entertain guests from all directions. From the fall of the late Qing Dynasty to the appearance of the Manchu army, various warlords, and impoverished Manchu bannermen at Quanjude, their words and actions present the entire era to readers and viewers.

Every character in the story is well-developed, with both positive and negative traits being believable. The manager, Lu Mengshi, is a man of great talent and ambition, but he also possesses the cunning, shrewdness, and profit-driven nature of a businessman. He obtains the right to host banquets through bribery, and when dealing with creditors, he uses a combination of coaxing and deception to bring his rivals to ruin.

He doesn't fit the image of a righteous merchant in the book, but he does portray a genuine businessman. After working for decades, he and his old brothers rebuilt Quanjude, but unfortunately, they still couldn't escape being discarded after their usefulness was over. He was driven out of Quanjude by his friend Wang Zixi and the second young master of the Tang family.

Liu Jinding, the imperial chef who assisted him in running Quanjude, and also the woman who deeply loved him, committed suicide.

Besides the deeply memorable character of the shopkeeper Lu Mengshi, the experiences of the head waiter Chang Gui are even more heart-wrenching.

Chang Gui was known as the best waiter in all of Beiping. He was not only good to his customers but also loyal to his own people. He once persuaded Lu Mengshi to take money to pay off the gambling debts of Luo Datou, the roast duck chef, and then went alone to the bandit's den to exchange him for someone else.

But he also has a troublesome son, Xiao Wu, and their storyline is similar to that of Bao Guowei, who loves using Stamford Bridge. Chang Gui scrimped and saved to send his son to school, but unfortunately, his son only knew how to compare himself to others and was even encouraged to burn down Quanjude.

In the end, Chang Gui was beaten to death by a group of thugs in the restaurant. Before he died, he was still thinking about the food of the guests upstairs. After reciting the names of the dishes, he breathed his last.

On the day of the funeral, all the restaurant owners and staff in Yanjing came to see Chang Gui off. His competitor, Lu Ji, exclaimed, "A good manager like Chang Gui is hard to find in Beiping!"

Luo Datou, the roast duck chef, is a famous chef, but he is narrow-minded, petty, and has a strong sense of gangsterism, though he also has a bit of loyalty.

Ke Wu, a representative figure of the Eight Banners descendants, was a big eater at Quanjude. He accidentally broke a Ming blue and white porcelain bowl while eating, and arrogantly asked for more than a dozen more, which he then threw on the ground in the restaurant to play with.

Upon entering the Republic of China era, he immediately became a destitute aristocrat, making a living by pulling rickshaws on the streets. He stubbornly claimed that pulling a rickshaw was part of his marathon training, even though he was dead.
Finally, Lu Mengshi summarized the whole story with a couplet: The first line is: What a dilapidated building, who is the master and who is the guest? The second line is: Only three old rooms, sometimes suitable for the bright moon, sometimes suitable for the wind. The horizontal scroll reads: All good things must come to an end.

Unlike "The Legendary Shopkeeper," this drama is not full of climaxes. The narrative pace is unhurried, and the characters in old Beijing are well portrayed. It can make people smile inadvertently, and also make them think about some truths. It can be both elegant and popular.

This script underwent numerous revisions before reaching classic status. In the late 1980s, it was heavily influenced by new foreign literary trends, and the play incorporated a large number of techniques such as stream of consciousness and flashbacks.

These ideas did not fit the requirements of domestic dramas, especially those with a strong historical feel, and were ultimately revised at the director's suggestion.

As it turns out, realism has always been the mainstream literary approach, regardless of the era.

Cao Yu watched it for three hours straight, constantly pondering and comparing it. After finishing, he didn't immediately offer his opinion, but after a long period of contemplation, he finally said:
"This couplet is truly the finishing touch. It has the flavor of Su Dongpo's 'Ode to the Red Cliff': 'Moreover, everything in the world has its owner. If it is not mine, I will not take even a hair of it. Only the clear breeze on the river and the bright moon in the mountains can be taken without restriction and used without exhaustion.'"

"This is a couplet composed by Emperor Kangxi, and Ji Xiaolan's version is correct. I'm quoting it here," Liu Yimin said.

Cao Yu rose and looked at the falling leaves outside the window, saying, "Fame and fortune are fleeting. We come into this world naked, and we leave naked. A thousand acres of fertile land can only provide three meals a day, and ten thousand mansions can only provide a three-foot-wide bed."

An era, a restaurant, a person; the microcosm of an era is the person, and the magnified person becomes the era. The helplessness of the person is also the helplessness of the era; the tragedy of the person is also the tragedy of the era.

Liu Yimin quietly watched Cao Yu, who was sighing deeply, and when he turned around, he said, "A person's achievements are also the achievements of the times."

"You're right. This aligns with our era's view of history that heroes are created by the times. Successful people often overlook the influence of the times on them. Take the arts and literature, for example. So many people used to be considered low-class and had no status, but now they've risen to become artists and writers. That's what the times have given them."

Liu Yimin and Cao Yu discussed some phenomena in the arts and literature circles. Nowadays, the arts and literature circles are all-encompassing, with literature, poetry, and drama holding the highest status and being the most respected.

In the performing arts, stage actors enjoy a higher status and a more modern organizational structure. The two discussed some phenomena in the performing arts, where some people from certain fields have transformed into artistic masters in the new era, but their inherent江湖 (jianghu, a term referring to the world of martial arts and chivalry) mentality remains unchanged, and these deeply ingrained sectarian rules are also hindering their development.

"Especially crosstalk, it's too much like the 'streetwise' world. Actors in stage plays gain recognition from the audience through their acting skills, but crosstalk performers have no way to survive without a master," Cao Yu said helplessly.

Cao Yu believes that the excessive emphasis on the "jianghu" (江湖, a term referring to the world of martial arts and chivalry) and the master-disciple relationship, coupled with the extreme inequality between master and disciple, will hinder the development of this artistic endeavor.

"Teacher Wan, from the late Qing Dynasty to the Republic of China, drama itself served to promote new ideas and break the shackles of feudalism, so it naturally did not have any feudal remnants. But other things are different. It is difficult to wash away the chivalrous spirit that has existed for hundreds of years in one day."

Cao Yu told Liu Yimin to rewrite the script carefully, not to rush it, but to make it better: "This script is better than 'The Flames of War in Beiping' and 'The Legendary Shopkeeper'. The characters are so well-developed, and the characters' loveliness, hatefulness, and pitifulness are all vividly portrayed."

“Then I’ll go back and start writing!” Liu Yimin said with a smile.

After leaving Cao Yu's office, Liu Yimin went to the rehearsal room for "The Legendary Shopkeeper" and saw that Su Min and Lin Zhaohua were rehearsing very well.

During the break, Yu Zhi asked about the third play, and Liu Yimin patted his chest and said, "Don't worry, 'The Legendary Shopkeeper' should be ready by now, right?"

"The performance will be at the end of this month," Su Min said proudly.

Because the rehearsal of "The Birth of a Warrior" used many good actors from the Beijing People's Art Theatre, the rehearsal of "The Legendary Shopkeeper" conflicted at the time, so the actors had to be used at different times.

Here, Liu Yimin met several actors, including Zhang Tong and Zhang Daqian, who had played Tao Qian in "Romance of the Three Kingdoms".

Lin Zhaohua also came over to reassure Liu Yimin, and subtly inquired about the new script, revealing his true intentions.

After leaving the Beijing People's Art Theatre, Liu Yimin submitted "The Best Restaurant Under Heaven" to People's Literature and Art Publishing House. Wang Meng and Cui Daoyi both agreed that it was a good work after reading it.

Wang Meng exclaimed, "The water boiled in the old kettle, though it has the same old taste, is truly a classic! Yimin, you've shown me the shadow of 'Teahouse' in this! You know me, I'm a trendsetter, and recently I've written quite a few works using Western stream of consciousness, some winning awards and some not."

But your work is better than anything I've written recently. It seems that regardless of the writing style, it all comes down to the content.

"Comrade Wang Meng, no matter when, realism is always a broad road for writing!" Liu Yimin said with a smile.

“You’re right, Lao Cui, let’s publish this in the first issue of 84!” Wang Meng looked at Cui Daoyi beside her.

Cui Daoyi placed the hot tea in front of Liu Yimin: "Comrade Wang Meng, I think it should not only be featured in the first issue, but also placed on the most important page!"

"Yes, put it on the most important page."

"Comrade Wang Meng, senior brother, I plan to combine 'The Smoke of War in Beiping,' 'The Legendary Shopkeeper,' and 'The Best Restaurant Under Heaven' into a trilogy called 'The Era Trilogy.' These three novels all depict the same era and the same capital city, sharing a common thread, and are all realistic literary novels. What do you think?" Cui Daoyi glanced at Wang Meng, fully understanding Liu Yimin's idea. He had been wondering why Liu Yimin had sent 'The Legendary Shopkeeper' and then 'The Best Restaurant Under Heaven,' but now he realized what the plan was.

"A trilogy about the times, stories from the same era—I think that's perfectly feasible. When we print it, we can also add the name 'Yi Min' to it. I believe that when 'The Best Restaurant Under Heaven' is published, everyone will remember the name 'The Trilogy of the Times'," Cui Daoyi praised with a smile.

The other editors in the editorial department congratulated Liu Yimin. Following the "Homeland Trilogy," Liu Yimin has a new trilogy.

Wang Meng said, "I think it'll be time for Quanjude to announce in the newspapers that all citizens can eat Peking duck for free for life!"

"Hahaha!"

Editor Xu Yi joked, "Yimin, you'll have to treat us to Peking duck then!"

"Okay, we'll have Quanjude send over a few roast ducks for everyone then."

As the lively sounds in the editorial office subsided, Wang Meng and Cui Daoyi showed Liu Yimin another novel. As members of the editorial board of "People's Literature and Art," they sought Liu Yimin's opinion on whether it should be published.

After reading it, Liu Yimin asked in bewilderment, "Isn't this just another 'bitter love' story?"

The article describes in detail a person's experiences in the East and the West, and through comparison, concludes that in the West, one can enjoy freedom, wealth, and the ability to realize one's ideals.

"The editorial staff had a big disagreement. On the one hand, they thought the author's content was not good, but his writing style was very pleasing. He used magical realism, which is the first time in our country."

The manuscript had a full page of signatures, with almost equal numbers of supporting and opposing opinions.

Cui Daoyi handed the pencil to Liu Yimin, asking for his opinion. Liu Yimin clearly expressed his attitude on the manuscript label.

"I disagree with publishing this!"

Liu Yimin expressed his understanding of Wang Meng's desire to use Western writing techniques to develop and enrich domestic realist writing, but also expressed his own concerns.

Cui Daoyi, standing next to him, counted the opinions on the manuscript labels: "Now, the one who won't publish it has the upper hand."

“Then let’s reply to the author and say that it’s not suitable for publication in our People’s Literature and Art magazine,” Wang Meng said.

Wang Meng also felt a strong sense of unease about this article. He had just taken office, and if he caused any major incidents, he would most likely be transferred away.

It's a long-standing tradition at People's Literature and Art magazine to change editors-in-chief when something goes wrong. Over the past ten years, Cui Daoyi has seen many editors-in-chief come and go.

After Liu Yimin left, Wang Meng pulled Cui Daoyi aside to discuss that since it was the "Trilogy of the Times" and "The Flames of War in Beiping" had been published for too long, why not reprint all three novels this time?

Cui Daoyi felt that Wang Meng's actions were somewhat irregular, but they suited his taste, so he agreed immediately.

"Although 'The Legendary Shopkeeper' has just been published, this time we are expanding the page space without changing the amount of new content. The cost of the page space is borne by our editorial department, not by the readers."

Wang Meng explained her thought process to the deputy editors, and after reading the three articles one by one, they could better understand the underlying connections between them.

"What about the royalties?" Cui Daoyi asked casually.

Wang Meng glanced at Cui Daoyi and said irritably, "Give me three!"

"Old Cui, you!" The other deputy editors, knowing Cui Daoyi's little scheme, teased him a couple of times without making it clear.

That evening, Liu Yimin and Zhu Lin received a telegram from their hometown. It was from their eldest brother, informing them that their sister-in-law had given birth in the hospital to a healthy baby boy weighing seven pounds.

In the telegram, the elder brother told Liu Yimin and Zhu Lin that since Liu Yimin did not have a holiday and Zhu Lin was pregnant, it would be inconvenient for them to travel by car or plane, so they did not need to go back to their hometown to "send rice and flour".

"Sending rice and flour" is a custom in Henan Province, usually done on the ninth day after a girl's birth and the twelfth day after a boy's birth. Relatives and friends send rice and flour, or clothes and cotton cloth for the newborn to support the family. Later, in some places, it was held together with the full moon celebration.

In addition, considering Zhu Lin's inconvenience, they were told not to go back for the Chinese New Year.

After reading the telegram, Zhu Lin felt it wouldn't be good for the two of them not to go back.

"I'll go back for a bit. You just focus on your work. Let your parents take care of you for a while," Liu Yimin said with a smile.

Zhu Lin then agreed: "Teacher Liu, shall I get you some rice and flour to take back with you?"

"Alright, alright, spare me. I'll just bring some cotton cloth as a token." Liu Yimin knew that Zhu Lin was deliberately teasing him by saying this.

They've already sent quite a few things home recently, which is enough to show their goodwill. Now, bringing things back is more of a formality.

When Zhu's parents and his teacher's wife, Li Yuru, found out, they each took out some things and asked Liu Yimin to take them back with him.

I don't know where Zhu's mother got a silver longevity lock from, but she put it in a wooden box and handed it to Liu Yimin.

Even Zhu Lin joked, "Where did you find this 'four old' stuff?"

"This is from a long time ago; I suddenly found it recently," Zhu's mother explained.

There was still plenty of time, so Liu Yimin didn't go back immediately.

I happened to have class on the day I returned, so I swapped my Chinese literature course with another teacher. I only stayed at home for a day or two before returning to Yenching.

In the classroom at Yenching University, after Liu Yimin finished his lecture, he walked over to Yu Hua, whose notebook was filled with dense notes.

Liu Yimin took Yu Hua to his office, and Yu Hua asked Liu Yimin if there was anywhere else they could go for a stroll.

Liu Yimin suggested several locations, and it turned out that Yu Hua had been to all of them.

Liu Yimin looked at Yu Hua, whose face was already chapped and whose lips were cracked: "You've visited so many places, it seems you should go back."

Yu Hua slapped his forehead: "That's what Editor Zhou said too. Looks like I should go back. Comrade Liu Yimin, I haven't had enough of your lectures yet!"

Upon hearing this, Wu Zuxiang, sitting opposite him, couldn't help but twitch at the corner of his mouth and interjected, "You young comrade, our Chinese department has many other interesting courses; you should attend more of them!"

"Hehe, Professor Wu, my brain can't remember so many things. Just listening to one lecture is enough to keep me busy for a while." Yu Hua chuckled, looking very well-behaved.

Yu Hua was leaving, and Liu Yimin wanted to keep his promise and treat him to a farewell meal. Yu Hua had one regret in Yanjing: he hadn't seen snow.

"I thought I would definitely see snow this time I came to Yanjing, but it only snowed a few times," Yu Hua said regretfully.

It rarely snows in Jiaxing during winter, and when it does, it's very light.

One of the professors said to Yu Hua, "Young man, don't talk nonsense. Heavy snow is no good. You can easily slip and fall flat on your back, which will make it inconvenient to go to work and teach!"

"Shandong University in Shandong Province has also chosen our textbooks!" Yan Jiayan said, rushing in with a smile.

(End of this chapter)