-the love mode of Jin Yong's novels
Flying snow pats the White Deer Plain, and the smiling scholar leans against the Garden Temple.
In the eyes of people who don't know the inside story, this couplet is a chivalrous man with a sword drifting with the tide, expressing his chivalrous tenderness, which is quite similar to Yu Dafu's "I used to whip a famous horse because of drunkenness, but I was afraid of being tired of beauty." In fact, this couplet is composed of the first letters of his fourteen novels. Although it cannot be said that the antithesis is neat, it can also show the chivalrous and affectionate spirit of Jin Yong's novels.
The conflict between emotion and reason is probably one of the eternal conflicts in the process of human life. In the cultural tradition of China, "emotion" and "reason" have always been regarded as two aspects of human nature. Traditional philosophy has long debated the understanding and relationship between "emotion" and "reason", forming different philosophical schools, which greatly promoted the development of China's philosophy. If we can link the history of philosophical development with the history of social development, we will find a very meaningful phenomenon: if "emotion" can be mentioned slightly in philosophy, society often appears full of vitality and vice versa.
Of course, the fundamental nature of China's feudal culture determines that "reason" is always superior to "emotion", which was fully developed by Zhu, a great philosopher in the Song Dynasty. He said: "the desire of heaven and man cannot coexist", "the desire of heaven and man is always opposite", "if the heart is harmonious, people will die; If people want to win, they will die. " We will not comment on how Zhu's philosophy thoroughly refined China's traditional philosophy and squeezed out the last energy of feudal morality, thus becoming one of the signs of the transition from the early stage to the late stage of China's feudal society. We just want to explain how important emotion and reason, human desire and justice are in the ontology of traditional culture.
In Jin Yong's novels, "emotion" and "reason" are mainly manifested in the permanent conflict between people's real life and moral imprisonment, specifically the conflict between love and secular norms. Obviously, Jin Yong's novels have neither shown excessive love tendency divorced from China's cultural reality, nor conducted moral preaching to suppress feelings and desires. Instead, it rationally promoted people's real life, made a reasonable breakthrough in the traditional "reason" that imprisoned society and people's development, or eulogized love with modern consciousness and even eternal value, or provided cognitive value, which made people take warning and endowed traditional love with rich cultural color.
Generally speaking, one of the greatest successes of Jin Yong's novels is to construct a life paradigm for us to travel around the world hand in hand through love description. Undoubtedly, this life paradigm is not only a breakthrough to the traditional rigid and decadent life paradigm, but also a poetic life. The life paradigm constructed by Guo Jing and Huang Rong, Yang Guo and Little Dragon Girl, Harmony, Harmony, and Harmony has a lasting and exciting power. In a locked and closed society, daring to "walk hand in hand" is itself a publicity of the true feelings of life and a poetic life in which human sensibility and rationality are in an ideal state. In a sense, this is a life paradigm that combines Water Margin and A Dream of Red Mansions. It is rooted in the depths of traditional culture and is not allowed by orthodox feudal concepts, because it exposes the reasonable factors in traditional culture that are in line with people's real life, and has a sharp conflict with feudal political ideology that maintains feudal hierarchical order and moral concepts, and has an impact on it. It is precisely because of these two reasons that this life paradigm has positive significance now and even in the future.
In this life paradigm of walking around the world hand in hand, everyone's situation is different and similar. For the convenience of narration, we can divide the love patterns in Jin Yong's novels into seven patterns: ideal, compensatory, futuristic, vulgar, abnormal, helpless and free.
The love between Yang Guo and Little Dragon Girl is an ideal love, and its purity almost exceeds the basic element of love-love between the sexes. At the same time, their love is a symbol, symbolizing secular ideas, ethics and even the so-called "gentleman" killing the purest and most beautiful love of mankind. Every tragic change that Yang Guo and Miss Xiaolong have experienced has nothing to do with this. Yang Guo's life experience is very tragic. He developed an angry and arrogant character from an early age and despised secular norms. The little dragon girl has been in the ancient tomb since she was a child. She doesn't judge the "three obedience", doesn't understand the "four virtues", doesn't know the world, doesn't care about machines, and is close to the so-called "baby" state of Laozi and Zhuangzi. If we strictly examine the love between "master and apprentice" from the scene at that time, we can see that it is probably the pure love between people that is most suitable for people's real life without any secular utilitarian color. However, when this theoretical love was taken out of the grave, it was spurned by Huang Rong, Guo Jing, the whole Wulin and even the society because of the division of mentoring, which made Yang Guo and Little Dragon Girl go through several tragic separations. Although they were finally recognized by the society because they made great contributions to the country and rejected the enemy, it was only a beautiful and illusory wish, and the most real thing was the process of their persecution.
The image of the little dragon girl reminds us of the "God Man" in Zhuangzi, with skin like ice and snow, graceful as a virgin, not eating grains, sucking wind and drinking dew, and traveling around the world by flying dragons. The love between "God and Man" was brutally persecuted by feudal moral concepts, which not only meant "anti-feudalism" at the social level, but also reflected on cultural ideals from a cultural and philosophical perspective?
The love between Huang Rong and Guo Jing is the most real and moving, but it is full of moral deception in the bones, which is a kind of compensatory love.
Compared with the above modes of love, the love between Guo Jing and Huang Rong has more cognitive value. Guo Jing, as a hero of "serving the country and the people", has his own rationality, but in his love relationship with Huang Rong, he is caught in the complex entanglement of "emotion" and "reason". The authenticity of Huang and Guo's traditional concept of love and the irrationality of cultural ideal make us think that no matter how lively, gentle, intelligent and intelligent a woman is, she can't help being a wooden, resolute and simple-minded man. No matter how fresh, gentle and beautiful, her emotional life can't escape the rigid, cold, arbitrary and cruel iron hand of traditional reason. The so-called "smart wife often sleeps with my husband" should be a historical sigh.
The love between Huang and Guo still permeates the traditional consciousness of moral fatalism. The consciousness of moral fatalism comes from the depths of traditional culture. China's traditional ideology has undergone two major constructions and changes. First, during the Qin and Han Dynasties, cosmology and epistemology were the cultural and political cores of this period; Second, during the Song and Ming Dynasties, ethical noumenon and theory of human nature were the core of cultural thought and political theory in this period. Since the Song and Ming Dynasties, this ethical thought has gradually internalized into folk customs, ways of thinking and extensive social psychology, and opera, popular novels and classical Chinese novels have been deeply influenced by it without exception. Ethics-based culture has its historical rationality, but when it is internalized into daily life psychology, it must be integrated with popular cultural consciousness such as superstition, karma consciousness, passive retirement consciousness and even "spiritual victory law" and moral fatalism consciousness.
Moral fatalism consciousness is a kind of moral illusory promise. It takes morality as the highest ontology and even fatalism as the premise, telling people that as long as they abide by orthodox moral concepts, they will get everything they deserve. This is what the so-called "God has no relatives, supplemented by virtue" means. The illusion of moral fatalism is mainly manifested in its unreality. Even if this life is not harmonious, there is an afterlife, which caters to people's deep psychology of laziness, helplessness and spiritual victory and is accepted by ordinary social psychology. This kind of consciousness accumulates in people's aesthetic psychology and makes it have real aesthetic character.
Moral fatalism has a strong anesthetic effect, and the story of Cowherd and Yong Dong is an excellent example. If the cowherd is promised as a fairy and Yong Dong is recognized as a weaver girl, then they will always be willing to herd cattle and work for a long time without awakening, and will never face the tragedy of reality. Guo Jing is a model of Confucianism and chivalry that everyone admires. The love between Huang and Guo made illusory compensation for Guo Jing at the expense of Huang Rong. This important compensation made Guo Jing's life complete. After he died for his country, people can only sigh and admire without regrets. Guo Jing had a lot of happiness before his death, but there was a lot of sadness after his death. His moral contribution was compensated in the same way. People feel perfect and natural, and they will never doubt this illusion. Without such compensation, they will feel wronged. For many years, people have been addicted to this illusory compensation and made a fool of themselves.
As a scholar and a knight-errant, Chen Jialuo is like an ancient "humanist". Although he didn't think about the value and significance of things and life in the style of "life and death is a problem" like Hamlet, his choice of Huo Qingtong and Princess Xiangxiang, his credulity to the emperor and his release of Emperor Qianlong's rescue of qi zhou's son all proved that he tried to put the traditional cultural ideal into reality, indicating that he was still a pure scholar. Coupled with the "anyway" that he gave his lover in exchange for Qianlong, it constitutes such a moral: replacing real politics with cultural ideals. Of course, Chen Jialuo, as a scholar in essence, only failed in the bitterness between the book and the sword, but it was the book of cultural ideals that constantly revised the sword of realistic politics, which kept the history of China from sinking. ?
The above makes Chen Jialuo as a scholar's tough and eternal side. But his love with Princess Xiangxiang belongs to the inner weakness type. He didn't choose Huo Qingtong, a tribal leader who was skilled in martial arts and resourceful and helpful to his career. Instead, he fell in love with Princess Xiangxiang, Huo Qingtong's sister, a weak and pure girl who was full of flowers but became a burden on her career. He can find various reasons to defend his choice, but he can't escape the limitations of culture: his choice of love shows the natural weakness of traditional male cultural character, and he tries to show his strength in introversion and harmony.
In fact, the most typical one is probably Shi Qing's choice of lovers in "Chivalrous Man". Shi Qing studies with her school sister Min Rou Mei Gu Fang. May Gu Fang loves Shi Qing deeply. Her appearance, personality, martial arts, poetry and needlework are better than Min Rou's, but Shi Qing chose Min Rou. Mei was puzzled by this, so she gave birth to great resentment and took Shi Qinghe's son as revenge. Finally, by chance, the three of them were together again. May Gu Fang asked Shi Qing why she didn't love herself. "Said slowly,' Mei, you are more sensitive than my sister, not only better than her, but also better than me. I'm ashamed to be with you, and I don't deserve you. "Hearing this, Mei finally understood that she couldn't get love, not because she was bad, but because she was too good. She let out a cry of regret and committed suicide.
Men in China are very weak, which is an inherent cultural weakness. The choice of Chen Jialuo and Shi Qing is not their own accidental choice, but determined by the characteristics of traditional culture. China's introverted culture-especially after the Song Dynasty-determined that men in China were afraid of conquering the outside world, including women. When a woman with personality and willpower appears in front of her, men in China often dare not show their strength by conquering each other, but choose another shortcut-choose a woman who is weaker than themselves to set off their strength.
A few years ago, in view of the inferiority of men, the women's circle set off an upsurge of "looking for men", marking Alan Delong, Stallone and Gao Cangjian, trying to find a man in China, and the result was naturally futile. Of course, they didn't get nothing, or they found that the besieged city was full of Fang Hung-chien, whose characteristic was that he didn't need surgery when he was a eunuch.
Duan's view of love seems to reflect on the future state of love, which has a certain romantic color and should belong to the future love.
There should be a difference between future love and ideal love. The former refers to the ultimate state of love beyond reality, nationality and cultural types. When we think about this problem, we should not be limited by various historical conditions such as nationality, region and culture, but only consider the love requirements that conform to real human nature. The latter is the ideal of love under specific historical conditions, which is limited by nationality, region and culture. However, the future love is not an abstract and empty love, but a transcendence desire of human beings and a reflection on the ultimate state of love. This kind of thought has certain significance for emancipating people's minds and guiding people to choose a progressive love mode.
If we are willing to "see the essence through the phenomenon", we should see that the relationship between Duan and his five wives and lovers is not vulgar polygamy, but it should be said that Duan and them are mainly a love relationship. Of course, it is not without flirting and promiscuity, but more importantly, it contains a new factor, that is, a sincere love for her. According to the novel, every time Duan meets one of his lovers, he will forget the original lover and love him wholeheartedly, even if he dies for this lover. Here, Duan has no utilitarian considerations. He doesn't regard love as a way to serve real interests, even if it is to fulfill his moral image. But devoted to the beauty of love, insulated from practical utilitarianism.
What is the essence of love? We have no intention to make a complete and detailed definition here, as long as we twist out its core part, that is, the feeling of the form of heterosexual beauty, all love that violates this feeling is impure love. Here, we don't want to deny the "single-minded" and "loyal" love, just want to show that this is a kind of love based on the realistic moral ideal. Because morality has strong aesthetic characteristics, this kind of moral ideal love is naturally considered natural and reasonable. However, it must be noted that this is far from the ultimate state of love.
The concept of monogamy and stable family is not in line with the law, of course it is in line with the law; Operators are immoral, of course, they are moral. However, is personality in line with human nature? Definitely not human. Today's monogamy, like other social orders, is the result of alienation from the culture created by human beings themselves, and it is the object that human beings should further improve. Today's "single-minded" and "loyal" beautiful love is also the product of the development stage of private ownership society, and it is not eternal. The exclusiveness of "single-mindedness" and "loyalty" of love is the reflection of the exclusiveness of private ownership in people's emotions.
The moral ideal of "single-mindedness" and "loyalty" Love is beautiful and realistic, but it is not eternal. Duan's right love may not be an imitation of reality, but his thinking about love has far-reaching future significance. Isn't it? After reading Dragon Eight Branches, we don't necessarily hate Duan's "romantic", and even like his amorous feelings. Doesn't this explain the potential desire in our human nature?
Duan's love experience shows the avoidance of human emotions. For his wife and lover, Duan should say that the most important thing is love, even sincere love. Just because of the order, norms and systems in reality, he can't make every lover a princess. More importantly, the exclusiveness of his wife and lover in love prevents him from having all the good things, which can avoid his love falling into a very embarrassing situation. We should not regard Duan's right love as his greedy possession of women. His love for her family and the ending of his death for her family fully showed his true feelings and dedication. Duan can't satisfy his wife and lover, which is not Duan's fault, but the fault of reality and the result of alienation from reality. On the other hand, if Duan and his wife and lover are replaced by sex (if reality permits), this problem can also be explained.
Duan's love has gone far beyond the vulgar concept of polygamy and become a cultural symbol. It makes us confused and even afraid, because we are imprisoned by reality and it is difficult to feel the beauty of the future; But it can deeply touch people's hearts, not only because it is loaded with tragic thinking about the future state and ultimate state of human love, but also because the vitality of human nature cannot be extinguished, which is where human hope lies.
Wei Xiaobao's love is downright vulgar. He embodies the consciousness of small farmers and rogue proletarians. He was born in a brothel and only knew his mother, not his father. Not only does he have no orthodoxy and traditional virtues, but even the general concept of right and wrong is very thin. Therefore, he does not need to look forward or backward when doing things, and he is indeed a bit "fearless". Therefore, it is wishful thinking to dig out any noble love from Wei Xiaobao. His views on women, marriage and love are probably the most "practical" in the world. In his view, women are prostitutes, love is possession, and marriage is reproduction. What ethics, morality, loftiness and dignity are all swept away in his attitude towards women, and even the Hehe Palace is mistaken for a brothel by him (which is indeed the case in cultural essence). Can we expect Wei Xiaobao to see anything solemn and sacred?
Of course, Wei Xiaobao's rogue proletarian consciousness did deconstruct some rigid political ideologies. The problem is that he deconstructs more positive values while deconstructing negative values. In the current words, it probably belongs to the category of "insufficient construction and more damage". In this regard, the history and reality of the past few decades, I am afraid, not only let us have a lingering fear, I am afraid will continue to have a lingering fear. Jin Yong's novels, when discussing the national character, fully exposed and criticized this rogue view of women and its behavior. At this point, looking at the novels in the new period, it seems that it has not completely reached this height.
The love between Li Mochou and Kang Min is abnormal. To say that he is abnormal only refers to his psychopathy, which is manifested in his abnormal hysterical desire for destruction, and this psychopathy is bound to be caused by his cultural background. Li Mochou's abnormal view of love actually reflects the narrow consciousness of small farmers, which is embodied in extreme jealousy. In Li Mochou's view, there is no concept of equality, only random possession, no respect for others, only coercion. Of course, Li Mochou tried to solve his emotional problems by solving "political problems", and the result was naturally playing with fire and setting himself on fire. "What is love in the world?" When Li Mochou sang this song and died in the fire, her questioning about love deeply shocked our hearts from the opposite side.
Kang Min's view of love is even more meaningful. Kang Min actually politicized love, took everything for himself, and wanted to be the overlord and dictator of love, just like Li Mochou's love. She suffers from being unloved, and even more from being unfaithful. So, she retaliated and killed Duan. Kang Min wants to be the queen of men's world and emotional world, which is the reflection of imperial power thought in people's emotional world in real society.
The cultural connotation of this love is the consciousness of small farmers, and its essence is possession. The intermediary that leads to psychopathy is jealousy, and the result is to destroy others, even yourself. What we should see from this is how consistent and unified people's perceptual world and rational world are in the feudal centralized society.
Zhang Wuji's love is helpless. To say that he is helpless means that he is always in a passive position and often makes passive choices in helplessness, not only in love, but also in his whole life. Zhang Wuji is a civilian hero. Although he has made great achievements, he is still a civilian in his bones, so he is doomed to be an emperor. Zhang Wuji's image is meaningful: without his own clear, fixed and firm ideas, he may achieve heroic achievements, but it is difficult to achieve his career.
In the choice of love, Zhang Wuji also showed a prominent civilian color, that is, he listened to his parents' orders and the words of the matchmaker. In Zhang Wuji's view, this "parent" and "matchmaker" are fate. It can't be said that Zhang Wuji didn't have love, and he didn't "fight", but he always passively accepted love when there was no other way, and became a slave to fate to some extent. It can be said that Zhang Wuji's image has concentrated the characteristics of ordinary people in some aspects.
Ling Huchong is a famous figure in Jin Yong's novels. He is loved by many people because he transcends the consciousness of Jianghu and rises to the height of "self", so that he can truly get rid of the shackles of Jianghu and become the real the legendary swordsman. Ling Huchong is a "smart" chivalrous man. He doesn't seem to have a great mission like Xiao Feng, a purpose in life like Guo Jing, a tragic experience like Yang Guo and a sense of responsibility like Zhang Wuji. It seems that he can do anything but nothing. In fact, he has his own great mission and his own great sorrow. Of course, what makes those "frivolous people" envy may still be that he can hang out with women and finally return to his ancient and gentle hometown to enjoy life, but these are "phenomena".
In view of the above discussion, we classify the love between Ling Huchong and Ren Yingying as free. Ling Huchong and Ren Yingying are not bound by the concept of good and evil. They can choose their partners according to their own likes and dislikes, which smacks of modern "freedom", but the price of this freedom is huge!
Hey hey hey! The ancients said, "Red clothes make you feel bitter". The love descriptions in Jin Yong's novels have fascinated millions of readers with their gorgeous forms. However, many people love its "red skirt", and some people who have made great efforts hope it. Perhaps, only by "taking off" this gorgeous "red skirt" can we see its good intentions!
Guan Daru, a novel critic in the late Qing Dynasty and the early Republic of China, said: "Heroes, children and ghosts are the three major elements of China's novels." Martial arts and chivalry belong to the category of heroes, while emotion and reason belong to the category of sons. Jin Yong's novels fully develop traditional culture with the help of traditional novel elements, create a complete cultural world and lead tradition to reality. We don't seek to rebuild a world full of chivalry and warmth here. We only hope that our national life will be stronger and better in the casting of chivalrous tenderness.