Imagine the beginning of a work.

1. Continue to write the composition, and start [Modify] from below.

torrid summer

It's too sultry! The sun baked the earth like a pot of fire, and there was no wind around. People are sitting in the room doing nothing and still sweating. In hot summer, people often use cold drinks and air-conditioned cold air to resist and prevent the summer heat. When you communicate with your parents carefully, you will find that when your parents meet your wishes, you will feel relaxed and smooth, and you will feel extremely cool in hot summer. Comfortable.

This is a kind of strength transformed from parents' love for their children, which makes them feel comfortable and intoxicated. However, when quarreling with parents, even in a refreshing air-conditioned room, it will feel unusually hot.

I also felt this kind of love this holiday. Because my father is working in other places, I went there, thinking that I like swimming very much, so I have been looking forward to a sunny and good weather.

However, since I came here, the weather has been not very good, and I finally look forward to a sunny day. The sun and I both smiled for a long time. I wanted to go swimming with my father this day, but my father was very busy at work recently, so I didn't talk because I thought it would be sunny in the next few days, so I didn't care. The day passed like this.

The next morning, my father looked out of the window after washing and said to me, "It's cool without sunshine today. Let's go down and exercise later. " I just got up and I'm still in a daze. I didn't hear anything clearly. I agreed with what my father said, and I went to see the weather by the way.

With the footsteps, my mood changed, because there was no sun at all. Then, I was unhappy and had a quarrel with my father. After that, I remembered that memory and also remembered it. I shouldn't have done this. At the moment when I was criticized, I felt very guilty and had an unspeakable taste in my heart.

In the afternoon, the sun woke up like a dream in front of my eyes and the weather became hot. My father decided to take me swimming at once.

In this seventh grade summer vacation, my father's diverse love has been with me. ...

2. At the beginning of the composition about turning choice into reality, Jiang Wen always gives audiences different movies about his personal proposition about choice-The Sun Also Rises. The first film "Sunny Days" is unique among the films with the theme of the Cultural Revolution. Since the new era, no film has ever expressed the youth story of that special era with such enthusiasm and way, which is expected to cause controversy.

The second book, The Devil Comes, expresses the absurd behavior of farmers in China during the Anti-Japanese War from a unique perspective, using black humor as a sharp knife to stab the national inferiority. These two films are exciting in Jiang Wen's own language.

Now the third film has killed a comeback and returned to the Cultural Revolution. In Jiang Wen's view, it is "the sun is too bright, and people suddenly get dark". Because there are many surreal phenomena in the film, and the story background is marked with a clear time and place, the theme of realism is expressed by surreal means. Inspired by Latin American explosive literature, everyone habitually calls it a "realistic magic" movie.

Many fans explain all kinds of unreal scenes in the film like riddles, and the conclusions are strange and even inconceivable. But is the movie really that confusing? Personally, I think it's a very simple movie just from the story.

The narrative can be said to be very concise, according to the order of 1976. Only at the end, traced back to 1958, tells the story of the birth and newlywed teacher and aunt Tang as the annotation of the previous story.

In terms of narrative complexity, it is far less than the films with the same structure as Shanghai Dawn and Pulp Fiction. In terms of characters, there is no role that needs special explanation, such as why is crazy mom crazy? I think the film has made it very clear that it is because of her paranoia, because she lost her fishshoes, because of the strange bird that "knew it", and because she fell from a height and her brain was shaking.

In fact, the last paragraph has clearly explained the origin of the character's behavior, and the choice of two women illustrates the problem. Let's start with crazy mom Her choice is "endless", which means endless. That's because she can't get Li's love, or she can't get it back. This strong feeling will continue until she finally can't bear to go crazy.

When the fishshoe was recovered, she was not crazy, but really chose to end it, and when it ended, she naturally disappeared. Aunt Tang's fate is just the opposite. She got Miss Tang's warm love, married him as she wished, and reveled in it.

But eighteen years later, due to the long-term separation between the two places, * * * is no longer pale, and she turns to the young to find the old * * *, so she will repeat to him what Teacher Tang said about velvet. Besides, Mr. Tang is still a child to some extent.

Aunt Tang said that "knowing a child like a mother" is the truth. His mind is not suitable for the family life of adults, so he hangs out with his children all day and all night and acts as the king of the children instead of going back to his wife.

The film seems to imply that he doesn't want to have children (or maybe he can't have children) because he still wants to live in a minor state. From the analysis of his liking for shotguns, it is that shooting can replace the body.

He is also a suspicious person, so he will go back to Beijing to find Velvet, just to let Li Dongfang die. Li Dongfang is a fairy, but when he said, "Your wife's belly doesn't look like velvet at all," it touched a sensitive nerve of Teacher Tang. Because he accidentally pointed out the matter, the conversation between the two had been tacitly avoiding adultery that embarrassed them.

As for Li Dongfang, he is the opposite of Mr. Tang. He is eager to know his father, which is driven by his strong desire to grow up. He accidentally destroyed everything in the stone house, which is a good proof, and he asked Aunt Tang to call him "Alesha" when he committed adultery, which is the most powerful evidence. Alesha is his father's "name", and his son wants to grow up instead of his father, taking his name as a symbol.

Jiang Wen said that the film tells the story of a man and a woman. In fact, it is a story of a man (Li Dongfang vs Teacher Tang) and a woman (Crazy Mom vs Aunt Tang) making different choices. The story has no ending, because "one generation comes, one generation goes, the earth is eternal, the sun rises as usual, the sun sets as usual, and the sun rises as usual ..." The four-part story of this film has its wonderful characteristics. The first paragraph "Crazy" is the most wonderful part of the film, mainly because Zhou Yun's performance is very vivid, her crazy eyes, her confidence when she says or does anything unusual, and her intoxication when no one is watching.

This paragraph is also the most humorous segment in the film. It often puts jokes in the words and deeds of daily life, which seems natural and forms a strong contrast effect. For example, the sentence "Your mother is up the tree again" is enough to make people laugh. The fireman-like rescue operation in Li Dongfang caused a burst of laughter from the audience.

The second paragraph is basically the performance of Huang Qiusheng and Chen Chong, which makes a seemingly exaggerated but true performance of the strict moral constraints during the Cultural Revolution. There is no lack of black humor that Jiang Wen is good at in the film, such as teacher Tang's comparison of * * * and hands, and two women's confession to teacher Liang, and the audience laughs constantly.

The consequences of strict abstinence will only form the opposite result, as evidenced by the exaggerated performance of women in the second paragraph. Huang Qiusheng's wooden performance just set off the exaggerated performance of women, while Chen Chong's performance was very artificial, and the rich body language made people laugh.

As for Mr. Liang's death, it was commonplace during the Cultural Revolution, and there was no need for any reason at all. So smart as Jiang Wen would say, "Only people who commit suicide will know why they want to commit suicide. If I knew, I wouldn't be here. "

As a prevarication, the third paragraph is relatively dull, but the film is based on it. The scene of Mr. Tang taking his children hunting reminds people of sunny days.

The carnival scene in the fourth paragraph may be the most brilliant chapter in the film. Everything goes back to the source, as if Neo came to the general design room. All the problems will be explained here, and more problems may be added, but everything is not important. Indulgence is the only theme of this paragraph. Many people compare this film to a dream. Personally, I think the movie itself is not a dream created by Jiang Wen, but a movie that is very close to the dream in essence.

3. How to write a 300-word virtual composition with reality, turn virtual into reality and abstract into concrete? How to do it specifically? From people's writing practice, we can know that the common methods are as follows: First, use metaphor to turn virtual into real.

If "sorrow" is also written, Du Fu's "sorrow stops in the south and the hole cannot be broken" describes that sorrow is as high as Mount Zhongnan, highlighting the weight of sorrow and the number of worries; Li Yu's "How many worries can there be, just like a river flowing eastward" turns the abstract "worry" into a concrete and sensible rolling river, which makes people memorable. Based on water, it highlights the breadth and depth of suffering; He Zhu "How much leisure? A cigarette in Sichuan, the wind in the city, and the yellow rain in plums ",uses three metaphors (metaphors) to compare sadness, highlighting that sadness is everywhere and endless, and the metaphor is novel and vivid, and at the same time it is really wonderful. Homesickness, written by the modern poet Mr. Yu Guangzhong, is a model of turning virtual into reality: "When I was a child, homesickness was a small stamp. I was here and my mother was there.

When I grow up, homesickness is a narrow ticket. I'm here and the bride is there. Later, homesickness became a temporary grave. I'm outside and my mother is inside.

Now, homesickness is a shallow strait. I am here and the mainland is there. "The poet used four images of stamps, tickets, graves and straits to describe homesickness in different periods of life, and described abstract and intangible homesickness as tangible and sensible entities, highlighting the characteristics of homesickness in different periods, which was very appropriate, very specific, very sensible and very ingenious.

This technique of turning the imaginary into the real by metaphor also exists in a large number of argumentative essays. For example, in 2005, Shaanxi examinee wrote the article "Four Seasons, Carving the Stone Monument of the Soul", at the beginning, the topic of "forgetting and memory" was visualized by metaphor: "If forgetting is the ice that disappears in spring, then memory is the peach blossom that burns its glory; If you forget that it is a colorful peach blossom petal in summer, remember that it is a lotus flower that reflects the sun in different colors; If you forget that it is a lotus without rain in autumn, remember that it is the Jin Ju of Ao Shuang branch; If you forget that it is a remnant chrysanthemum thinner than the west wind in winter, then remember that it is proud of the independence of snow, with a faint fragrance notice! " Its metaphor is very clever, vivid and has the characteristics of "forgetting and remembering". In addition, spring, summer, autumn and winter are interlocking and progressive, and the use of ancient poetry, such as salt dissolved in water, shows the author's good language literacy, which makes the article bright and colorful at the beginning.

This kind of writing can be said to be difficult to get high marks. The second is to turn the virtual into reality by anthropomorphism and imitation.

Let's take sorrow as an example. Li Qingzhao's "I'm afraid a grasshopper boat with two streams can't carry much sorrow" materialized "sorrow" and turned it into something that a boat can carry, so sorrow gained weight, even heavy enough to sink the boat. It can be seen how heavy the sorrow of the poetess is.

Another example is how time flies. Mr. Zhu Ziqing said: "When washing your hands, the days pass from the basin; When eating, the days pass from the rice bowl; When I was silent, I passed by my eyes. I realized that he was in a hurry. When I reached out to cover it, he passed by the covered hand again. When I was lying in bed in the dark, he passed me and flew away from my feet. "

Time is alive. It is in a hurry, moving forward non-stop, unmoved by human feelings, vividly telling people that time waits for no one and must be cherished. How specific! How vivid! The third is to use contrast and contrast to turn virtual into real.

In Tang poetry, the wind is powerful: the valley, filled with broken boulder like pecking measures, downward, upside down, with the wind. Even stones as big as buckets will be blown around by the wind. According to the common sense of life, it is not difficult to judge the severity of traffic jams on the northwest border.

There is such a poem in Bai Juyi's Pipa Trip: "The east boat is quiet, the west boat is quiet, and we see the white autumn moon entering the middle of the river." "Everyone at the banquet is listening and covering their faces ... who cries the most when sitting, this Jiujiang official. My blue sleeves are wet. " It has a strong touching power to set off the superb charm of pipa women's playing art through the environmental atmosphere and character reaction.

Lao She's Under the Hot Sun and Rainstorm describes the hot weather. By writing that the treetops are motionless, there is no wind, mules and horses are panting, dogs are spitting long red tongues in the shade, Xiangzi is sweating like rain, his mouth is thirsty, and his chest is tight and stuffy, which truly shows the "hot" degree of the day. If you just write what the temperature is, it won't have such a good effect.

The fourth is to describe the scene, portray the details, and turn the abstraction into an image. For example, the sketch "Taste the Pain" (Liu Min): "Pain is that four people are crowded in a bed in summer, and there is no fan.

Pain is when you are thirsty at midnight, but you can't find water to drink. Pain is running down from the dormitory building with a kettle to fetch water. Just before the tap, my aunt quickly turned off the valve and the water was off work.

The pain is that the professor's class makes people sleepy, but he just sits in the front row. Pain is when the professor runs away after calling the roll before class, only to be told that the professor proudly called the roll before class.

Painfully, as soon as the monthly subsidy comes down, a pair of white eyes with excitement immediately light up around them. Pain is to entertain the public at the expense of their own image, but after they laugh, they solemnly call you obscene.

Pain is when someone I like says I'm a loser. The painful thing is that I got 59 points in CET-4.

Pain is when you go to dinner and find that no one likes fat meat more than yourself. Pain is what you are looking for, which is always in front of you and can never be caught.

So, sometimes hope is pain. Pain is watching yourself become mediocre, but there is nothing you can do.

But who knows, the pain may be when you happily pick up a hundred-dollar bill and find it is a counterfeit bill. Perhaps the pain is just the stomach of the poor in Afghanistan and the brain of the children who are out of school, just like God's tearful eyes. "

By describing some specific scenes and plots, especially some typical details, the author concretizes the intangible and abstract "pain" into scenes, plots and details. It is not difficult for readers to understand what "pain" is as long as they mobilize their own life experience a little. Another example is Alienation of Maturity (Selected Works of Zhang Feng, No.8, 2005), which shows this writing incisively and vividly: the word maturity seems simple, but if it is "learned", "knowledge" is great.

Maturity is hearing the voice in the leader's speech.

4. Write a virtual composition with reality.

Empty and ethereal, but it can make people happy; True and aboveboard, but some people find it hard to accept.

Unreal reverie, some can bring happiness, blind pursuit, and some can make people excited. So, what's the use? Reality cannot be distorted. Illusory reverie is like a dream. When you wake up from a dream and come back to reality. True and false, false and true, can never be reversed!

Just like some people in our class, they are idolized. Blush for the star you love. Unreal pursuit, stars, is it that important?

Face the reality! What can you get by pursuing blindly? Tasteless happiness? Were you happy then? Just your imagination!

As for the stars, I am very quiet inside, and I have no preference or prejudice for them. Stars are stars, seemingly reaching out, but actually higher than the sky.

It is better to read more books! I know these words are useless to you, but I still want to say, "Good medicine tastes bitter and is good for illness, and advice is good for action when it is not satisfactory!" "

"If you are not indifferent, you will have no ambition. If you are not quiet, you will be far away." Calm down and think about it. The time for arguing is not as good as reciting ancient poems, and the time for reading gossip is not as good as reading masterpieces.

"How thick the brick is, how thin the jade tile is." Face the reality!

Yes, the reality is so cruel that you can't face it. However, you must face it, not run away to fantasy with fear.

If falsehood and reality are truth, then reality is truth and falsehood is fallacy. If emptiness and reality are gods of heaven and earth, then reality is god and emptiness is the devil.

Reality makes you too scared to face it. Illusion makes you happy, so happy that you can't see the truth and lose your way. When you suddenly understand and feel the cruelty of reality, you immediately go to the so-called "Elysium". Reality sighs at you, because every time you meet it, you will panic, and before it sees your face clearly, you will even run away rolling and crawling. ...

5. Dignity composition begins with virtual reality. Dignity is like fire, which can burn all inferiority. If a person loses his dignity, it is like a tree losing its root and a river losing its source. Even if they live in the world, their souls are already dead.

Dignity is as precious as money, power and even life. People have dignity to have confidence, and confidence to succeed. Dignity is the foundation of success and the source of faith. Only with dignity can you succeed. I don't want to deny that losing my dignity is bound to fail. But I think that sacrificing dignity for success, when "success" and "loss of dignity" are equated, then this kind of success is not worth mentioning.

When we turn to history again, history tells us the value of dignity. Although Su Wu has been herding sheep in Beihai 19 years, he has never given up the belief of returning to China. Whether it's Tao Yuanming, who's "five buckets of rice don't bend his back", or Li Bai, who's "Oh, how can I solemnly bow and scrape to high officials?" Whether it is Chen Sheng, who "knows the ambition of a swan", or Wen Tianxiang, who "keeps a pure heart and shines on history"; Both Lin Zexu, who burned opium angrily, and Gu Weijun, who held his head high and refused to give in at the Paris Peace Conference, defended justice with dignity and wrote history.