Revolution Discourse And The Rhetorical Fantasy Of "Hero" In Model Play

People from the fields of historiography, literature and linguistics have given their attention to the issue of model play in their own research aspects. However, defects and blankness still exist in the research of model play currently, that is, the rampart set by different researching approaches, resulting in the masking of research production. Thus, to get through the barrier of academy, to integrate researching resources and to review the model play by way of rhetoric in a broad sense, bears a value.The article combines the paradox view of grammar and rhetoric first. Then it analyses the revolutionary fantasy created by model play from the following three aspects, the rhetorical naming of model play, the rhetorically grammatical use of ability and desirability verbs,the rhetorically grammatical use of relative compound sentences.Afterwards, this article deals with the making and functions of heroic rhetorical fantasy based on some language materials; the absolute authority rhetorical fantasy created by recessive heroic discouse; the ideal model rhetorical fantasy created by dominant heroic discouse, possessing the functions of paradigm, instruction and dedication; the shaping allegory of rhetorical fantasy created by hero's absolutory discouse; the shaping allegory rhetorical fantasy created by future-hero's absolutory, possessing the functions of proving and punishing; the value identification rhetorical fantasy created by sub-hero's confiding discouse, possessing the functions of assisting, exposing evil and carrying forward good; the background metaphor rhetorical fantasy created by pan-hero's praising discouse, possessing the functions of receiving kindness and worship; the opposite symbolic rhetorical fantasy created anti-hero's foolish discouse.In the end, this article analyses the cleft between fantasy and reality. It identifies the revel of model play from the balance between the affections of flesh and blood and the fellowship of different classes. It recognizes the ironic rhetoric of model play from making its choice of spiritual godfather and material mother.