Huazhong Food University Chen
one
You don't know why you think of reading that Lin Daiyu entered Jia's house in the car when I was a child. The cars that may stumble are very similar to the light you saw lying in bed at that time, swaying one by one. Do you still remember my cousin talking about it in front of you? Remember that the dialogue between characters in A Dream of Red Mansions used poetic language. The recording of the old phonograph was like the light gap of Hong Tao actress 1969 porcelain. Uninterrupted notes played in your miniature painting with yellow pages between them. The lady in the eye of the phoenix and your cousin corresponded to the faint plum makeup, just like Jia Baoyu.
You remember that you were finishing the homework assigned by the teacher, and you had to listen to your cousin who had recovered from a serious illness. Of course, if you still have a chance to make a thrush for Ruan Wunong's cousin, you don't mind being buried in endless papers. At that time, you vaguely remembered that your cousin solemnly told you not to look at a dream of red mansions with textual research. Then you only saw one historical story after another that could not be falsified. If you want to read this book, you should look at it from the perspective of mental illness, because our world is a dream of red mansions that is not sick. You weren't interested, and you didn't want to be interested, but you don't have to argue with your stubborn flatterer cousin, because your private money is in her hand. You remember that you finally made a mess with her and spent the night safely in the play of the good man and the good man who didn't tickle me.
Later, when you look back at Lin Daiyu's visit to Jia's house, you find that what my cousin said is not bad at all. At that time, you mentioned the past in front of a senior who looks like Lin Daiyu and looks like Rainbow Xifeng. Your senior smiled, giving you a new perspective: A Dream of Red Mansions is not so much a metaphor for the collapse of a dynasty, but rather that people are always involuntarily blown away by the wind and rain. This principle is universally applicable. Your senior thinks that Liu's so-called Qin studies are good at telling stories, but she doesn't think that A Dream of Red Mansions can be explained clearly by the history of maids. Now you are sitting on the bus to the hospital, thinking about her words, turning over the high school Chinese textbook, washing the folds of white jeans like Jia Mu's Everything, and turning over the historical drama that is entangled with the fate of millions of people. You stand and think, if you are also worried about an apple polisher, what will you take A Dream of Red Mansions as? It is a tragedy that the answers in the textbook come to your mind immediately after you have been educated in the orthodox Chinese department.
This is indeed a tragedy, but what is a tragedy? Is it a tragedy that the so-called heroes who fought each other in Water Margin and Romance of the Three Kingdoms were finally blown away by the rain? You see, it's all just a farce. Dream of Red Mansions and Journey to the West are the real tragedies. Lu Xun said that the so-called tragedy is to destroy good things for people to see. This is too superficial. The so-called tragedy refers to the fierce conflict between the inevitability of justice or helplessness achieved by karma and the free will that gave people a certain degree of choice before inevitability. Tragedy that people talk about in daily life weakens the seriousness of tragedy, and beautiful things are destroyed, which may be given meaning by accident or devoted to a major cause, instead of being endlessly circulated by the shackles of inevitability and eventually becoming nothingness. What is tragedy? It is not a tragedy that a good man is killed by a bad man, which is a matter of course, because the bad man killed the good man and turned himself into a bad man, and the bad man became a bad man in this conflict between good and evil. It is a tragedy that a good man killed a good man, because it is meaningless to the world from any angle. The essence of tragedy is the choice of predecessors in the inevitability of fate. Furthermore, it is meaningless for people to pursue truth, goodness and beauty, just as the essence of farce is that it is meaningless for people to indulge in fear and boring choices in a world without rules.
It suddenly occurred to me that your senior told you a nonsense: Nietzsche pointed out in his two metaphors of Apollo and Dionysus that life is wandering in pain and sorrow, and the Apollo spirit covered up this state, making it look beautiful and making people live safely in the sadness of the world. Dionysian impulse truly reveals the tragic reality of life, tells us the shaky foundation of a better life now, and makes individuals return to the noumenon of the world in pain and extinction, thus forming a permanent return. The efforts of false appearances and revealing the truth will continue forever, and the past life that once disappeared will be intertwined with the present and continue indefinitely. You know this Schopenhauer Nietzsche interpretation is saying that if the past we cherish repeats endlessly, no one can bear the unbearable lightness in life.
Therefore, tragedy or farce will eventually go to nothingness. The tragedy is that no matter how hard people try to be good, it is meaningless in the end, but it is swallowed up by the nothingness of value. A Dream of Red Mansions is a tragedy whether it is an alliance of wood and stone or a marriage of gold and jade. Boys and girls who live poetically in the Grand View Garden are all "white" in the end, without exception. Just like the journey to the west, it is also a tragedy. At the beginning, the monkey head, which was full of vitality, was destroyed by years only by obedience and humility. He thought he wouldn't give in to any cage, but in the end he chose another cage voluntarily from one cage. Not to mention the real prototype, the indomitable spirit monk of Datang is a weak person and an abuser of Nuo Nuo in the text, which is neither respected nor worthy of respect. It is said that Journey to the West is a fairy tale of China people, but this fairy tale is too heavy, too adult and too treacherous, just like a mummy in a holy coffin, it disappears as soon as it touches reality. Compared with these two tragedies, Romance of the Three Kingdoms and Jin Ping Mei are really funny, not sad. One is a warlord for power and lust, who regards human life as dirt, and the other is for the prodigal Qiu Si, who regards women as playthings. Amid the noise and commotion, farce is nothing and meaningless to the world. two
It is also meaningless, and tragedy makes people heavier, because people are animals looking for meaning, and "goodness" is as important as eating and breathing. No one wants to say that he is meaningless, which is why writers are eager to leave their works. Do you still remember Yu Wensuo 'an's saying that all the literati handed down from generation to generation in China have a promise of timeliness, and excellent writers can gain eternal life with the help of texts? Virtue, merit and speech are called the three immortals. Similar to a writer's immortality through a written text, a moral person obtains immortality through a moral text, and a person who has done something can also obtain immortality through a text that has done something. However, there are too many people vying for immortality, not only from China, but only a few words can be handed down, just like gorgias and protagoras Zhi Zhu, the wise men in ancient Athens. But how can they be handed down without relying on the records of Plato, their sworn enemies?
You don't know if Lin Daiyu had this kind of secular anxiety when she first entered Jia's house. Unlike the vitriol she recognized when she grew up in the future, Lin Daiyu, who unfortunately lost her mother, had to make a little gesture to please her at this time. When you read it, you feel like a different person. Squinting my eyes, I couldn't help thinking on the bus leading to the hospital that this change in personality may be due to the wandering feeling of living in Jiafu for a long time. Although the Jia family is related, it is still a foreign land for an orphan girl whose father died soon. The sense of wandering produces anxiety and lengthens the sadness of death. The twisted spiritual world can't go home. When I came to my hometown where my father and mother once lived, I had to vent it in poetry. In a sense, Lin Daiyu is the first, and possibly the only, child in the Grand View Garden with a desire for immortality, a hope and yearning for a sense of security. Different from Baochai's saying that "the good wind sent me to Qingyun", Baoyu and others said that "it was hard to get peace, the moon of glory, laurel and helplessness", and they wrote "I died today and was buried, I don't know when Nong will die." Dai Yu, who buried flowers today, is deeply aware of her rootlessness as an individual.
For a person who has received a complete training in China's classical poetry, he has accepted a sense of identity with The Promise while accepting the skills of classical poetry. The longer the history of mankind, the more charming the immortal promise becomes. The greater the expectation aroused by this commitment, the heavier the anxiety caused, and the more difficult it is to overcome the difficulties. It is more difficult for generations to stand out from the crowd. Similar to Lin Daiyu's anxiety, so many modern literati become intellectuals and revolutionaries, trying to write the text of Lide's meritorious service together as revolutionaries in order to strive for immortality, not just a few vague words embellished in this world. Old times can't be redeemed. As long as you walk past the figure, there will be no trace. If we say that man is an animal who lives for …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
Then you think of Aristotle's Poetics, whose original name means "Poietike Techne". From the etymological significance of Greek, "poem" means "creation". The art of creation originally included making practical objects. The creation of "poetry" refers to all artistic creation. The artistic images created by poets with immortal intentions are different from real things, and only exist in works, but they are everywhere. Poetry is artistic creation. Art belongs to the creation of knowledge, which is different from theoretical knowledge and practical knowledge. It reproduces special things by shaping images, showing universal activities, emotions and meanings. Poetics is the study of art, that is, the knowledge of creating knowledge. The reason why people develop poetry is to ask the true nature from poetry, because poetry and fate are generally impermanent and complex, with great horror. Poetry is the most favored daughter of literature. When Heidegger interprets Plato, he repeatedly reminds us that philosophers and poets are all on the way to explore the truth, and these roads are fundamentally related to language. In On the Road to Language, he said that God comes from language, and that "the coming God" is the general trend. The more difficult the premonitor is, the farther the premonitor's salvation hint is.
According to Heidegger's thinking, people who can't walk in language can't summon a bright spirit from reality.
With dreams. Words are not enough to prove existence, but to prove that we don't exist. According to the old Christian concept, existence is the realization of essence and the true manifestation of essence in the real world, because essence is only a possibility before realization. When the essence comes from the level of possibility, it really exists. This essence is God, which is Christ Jesus. God's spirit can't be inspired, and naturally it can't form a narrative after the arrival of the Holy Spirit. Do you remember Holderlin's poem: "In most cases, poets are always longer than the beginning or end of the historical era." By singing, a nation left the sky of childhood, entered the life of action, entered the country of culture, and returned to its original life by singing. "Do you think of ancient poets, coming from all ethnic groups under the stars, and going to immortality alone with the will of God? Poets are carriers of the inspiration of the Holy Spirit, immortal/living things, and writers among writers.
Reminds you of a sentence in the Book of Songs: "God is stiff and people die. If you don't say it, it's not far away. This is not a subway, this is not true, this is not far away, this is a big suggestion. " The meaning of this sentence is: "God is confused and deviates from the normal path, and the people are sick and difficult. Others have good words but don't take them, and kings don't rely on their decisions. Ignoring the sages and willfully not reading the Old Testament, confusing right and wrong. You are too short-sighted to be in power, so I will use poetry to persuade you. " Poetry 300, in a word, thinking is innocent. When the king's groggy behavior disturbs the harmony between heaven and earth and makes God's creation unable to descend to earth, then the poet has the obligation to let God come out of the distorted reality. Think about it, the ancients in China, like the west, thought that the poet was the carrier of the gods, and there was a best word to describe him in the Book of Songs, that is "corpse".
There are seven symbols of "corpse" in The Book of Songs, * * *, see 17. These seven articles are: Zhao Nan Caicai, Xiao Ya Blessing, Xiao Yachutz, Xiao Yaxin Nanshan, Daya Jiuzui, Daya Ghost Hip and Daya Ban. There is a saying in Wang Guowei's History of Traditional Chinese Opera in Song and Yuan Dynasties: "There must be corpses in ancient sacrifices. The body of the ancestral temple is for children. It is impossible to verify whether the gods of heaven and earth are the same corpse. As the saying goes, "I worship the summer suburbs and think that they are corpses. "That is not the ancestral temple, but it is also useful. The spirit of Chu Ci is almost a witch and a corpse. Its word is Wu, which means God is also called Ling. Among the witches who cover the group, there must be people dressed as gods, who are regarded as places where God depends. Therefore, it is called Ling or Lingbao. " Dong Jun said, "Think of spirit and protect virtue." Wang Yi's "Chapter Sentence": "Practice God as God, and practice protection as security. "The" corpse "in Songs of the South is called" spirit ". In the pre-Qin sacrificial ceremonies, some people, as "corpses", symbolized the ancestors of ghosts and gods in previous dynasties, enjoyed the sacrifices of ordinary people, issued divine messages and uploaded public opinions, and played an intermediary role in communicating the will of man and god since Zhuan Xu came into the world. The former king and the former gentleman used the mouth of "The Corpse Whisperer" to correct the unscrupulous descendants, restore the true advice, and give their blessings. Their kind words are also praised by the world. " "Corpse" is an abstraction without personality, but in the sacrifice, the Holy Spirit comes and teaches it as a Shinto, and you are called King Su. The article is natural, and the poet is also an abstraction of the fate without personality. He is not speaking for himself, he is speaking for God, and the spirit/Tao/logos of God is released from his mouth, that's all. He is a writer among writers and the dominator and creator of one of the Three Immortals. The writer is the writer of fate, and poetry is the first daughter of literature, which is favored by him and becomes the spokesman of God. The so-called Book of Songs is actually a corpse book, a song of prayer and a song of burying souls. The poet juxtaposes reality with sacrificial ceremonies, and expresses countless metaphors in reality in words with the help of his harmonious body. The "coming god" came out of the body, and it was like this.
three
You remember that in traditional western literature, the concealed truth is a symbol of literature. Aristotle said elegantly in Poetics that all the literature in the world is only a description of reality, and reality is only a description of truth. I remember Earl Miner said that even Aristotle, who contended with Plato everywhere, had to find a great ideological backing for his poetic theory in tradition, so in order to complete his poetics, he had to follow Plato's imitation view, which showed the end of his confrontation with the teacher. Therefore, the works in our hands that are called texts by the new critical literature are metaphors of the inevitability of fate made by writers with unnecessary language. There is always a gap and a distance between the written works and the meaning he expresses, just like a lady's dress, which outlines the body for imagination, but covers up the good body. Therefore, the same sentence, the same paragraph, the same metaphor, not only show us, but also cover us up, tell us the truth and appeal to our lies.
However, if we continue to think about this leaping and violent thinking, will we be surprised and suddenly feel that writers are only writers of fate, not spokesmen of nature, because fate is obvious and intangible, literature is a metaphor for reality, and reality is a metaphor for truth. The meaning of metaphor is changeable, and other metaphors cannot be demonstrated. "Do you remember Swamadan's words:' I dissected fleas to prove to you that God exists.' Max Weber quoted the famous words of Dutch naturalists in his speech "Taking learning as a career", admiring and recalling the era of seamless cooperation between reason and faith, which provided what it could, while faith provided everything else. However, when you dissect a flea, you only see God in your eyes, not God in my eyes. As for who can be saved, no one knows. Once the text is opened, the author is already dead, and the phenomena carried by the text can only enjoy the same interpretation right as other readers in the sacred coffin, but not more.
The poet pretends to be the spokesman of God, but this God is actually his own God after all. In the final analysis, his poetry is to write a personal Bible for himself. Just as Nietzsche said that after the death of God, Marx Weber mentioned in his next speech "Learning as a profession" that this was an era when God was shrouded in dark clouds, and the gods competed with each other from then on. There is only one reality we can perceive, and there is only one fact that does not increase or decrease, but there are countless interpretations of this unique fact. You can imitate Calvin and say: Tao is in our hearts, but countless gods have been opened, but no one knows who can be saved. All I know is that those chosen by God can be saved. In the ceremony, whether the Holy Spirit descended on the "corpse" or just an abstraction of fate, no one knows. We only know that the Holy Spirit will come to the "corpse" he chooses, just as God will redeem the poet he chooses. The consequence of such doubt is that all people are confident that they are God's voters, and those who are not confident are definitely not God's voters, because voters are perfect and immortal.
Numerous writers construct a narrative order in the text describing fate, and then seek the truth of their own poetics. In reality, I will write it down for you with a pen instead of God to complete the karma. According to Wang Dewei, the so-called poetic justice refers to an imaginary arrangement in the narrative sequence. When this literary arrangement and "justice" naturally go hand in hand, the wishes of authors and readers can be realized on paper. The so-called narrative order refers to a rhetorical shaping, which makes the narrative behavior seem reasonable, thus revealing the social and ideological discourse order. Poetic justice and narrative order are the core elements in the dialectical relationship between "law reproduction" and literary "law reproduction". Poetic justice is different from public justice, which is the writer's imagination rather than reality. Lin Daiyu is only asking about death. She has no energy and vision to ask about the justice of poetics. However, the original intention of Cao Xueqin, the author of A Dream of Red Mansions, to create immortal works is to ask whether there is still a way out for the spiritual world after the human order decays. On the surface, the world created by Cao Xueqin has nothing to do with the justice we can imagine every day, but the contrast between the Grand View Garden and other areas of Jiafu itself is destroying the old creed. What Cao Xueqin created was an unjust justice and a dispensable choice. However, on the way to death, just like the cry of Jesus Christ in the wilderness, Cao Xueqin was full of confusion. He is just a god in his own text, not a real god, so the aftermath will be difficult to continue. Therefore, in A Dream of Red Mansions, there is no way out. Do you think Cao Xueqin's embarrassing situation is similar? Whether it is the dreamland illuminated by the romantic mirror or Zhen Baoyu in Jia Baoyu's dream, an energetic individual is bound by power, and finally can't bear the burden of reality and collapse. The images of Lin Daiyu entering Jia's house flashed before your eyes, but it was a tragedy. The two protagonists of the story make their debut here to meet the fate they have to face in the future. The struggle between man's free will and inevitable fate is called tragedy. The reason why I can't forget Lin Daiyu's entry into Jia's family is because the protagonists of the tragedy began to appear as tragedies, and life became meaningless in the process. Many people don't like Xue Baochai, don't like attacking people, and even have a series of dislikes, but who realizes that they don't have much freedom of choice at all, and everyone is crushed by the wheel of inevitability. You think many people complain that Gao E's sequel "The Red Chamber" is that gold turns into iron and the dog's tail into a mink. However, you think many people are actually angry with Gao E under tragic sadness. Gao E actually faithfully reflected Cao Xueqin's deepest despair. It would be even worse if someone who only knows how to have a happy ending took over. Many times, fate can never be avoided. If human comedy is to tear meaningless things to people, then historical comedy is to show meaningless enlightenment to people. Tragedy is tragic, comedy is absurd. It is inevitable that pain turns the threshold into stone. Life is life, death is luck, and it is inevitable that people will be thrown into this world. Whether it is the tragic choice of resistance or the absurd choice of obedience, it is meaningless in the end. "But you must live."
On the bus to the hospital, you remembered the story of Lin Daiyu entering Jia's house when she was a child. The stumbling carriage is very similar to the light you saw lying in bed at that time, swaying one by one. Do you still remember that your cousin, who recovered from a serious illness, talked about the dialogue of characters in A Dream of Red Mansions in poetic language in front of you, and the records of the old phonograph, such as actress Hong Tao, 1969 porcelain student, flashed by, and uninterrupted notes bounced in your close-up painting, with yellow pages in the middle, and the ladies in the eye of the phoenix corresponded to your cousin one by one with faint plum makeup, just like Jia Feng. You think of Chen's sentence: "People's experiences are precipitated as memories, waiting to be awakened, and they will be out of the body sooner or later."
Edited in 9 comments on 20 14-02-08
John Wei, dumbbell-like laughter
Wang Yimian, Miao Saiqi and Han Xiaotong all agreed.
Chen Zhi talked a lot upstairs, but it seems to be beside the point. According to Mou Zongsan, the author is talking about tragedy.
Strictly speaking, only the West has a mature tragedy theory, and China has no tragedy theory as a discipline system. We see that Jin Shengtan and other ancient people just like to comment; Western tragedy theory is a mature conceptual system, which is generally systematic in literary theory.
Tragedy can be traced back to the tragedy of ancient Greece. Most ancient Greek tragedies are tragedies of fate, such as Oedipus killing his father and marrying his mother, which shows the ultimate opposition between man and fate. In my opinion, this is the highest tragedy, because fundamentally speaking, all human tragedies are tragedies of fate. We can appreciate the solemnity of life in this tragedy. The tragedies in modern western countries are mostly character tragedies, such as Hamlet and Faust. The whole work revolves around a specific character. In fact, we can see this tragedy from the poet himself. Poets advocate the truth of human nature, so they are often not tolerated by the secular, and the ending is often very tragic. What needs to be pointed out here is that tragedy does not necessarily mean misery, because misery is a subjective feeling and tragedy is an objective necessity. The tragedy of character is the objective inevitability of character. A character like Hamlet, living in the real world, is bound to be destroyed. Leibniz said that once an ontology concept is formed, all possible predicates have been included. Hamlet is the subject and the predicate is death.
The following quotes Mou Zongsan:
What is a tragedy from human nature? Friends who study western literature can know. This is what Goethe called a tragedy of character. This kind of tragedy exists in the era of Yao and Shun, in the era of rebellion, in the era of monarchy, in the era of democracy, and even in the era of the so-called arrival of heaven. Unless everyone can become a god and no longer a limited human being, this tragedy will never be avoided. The tragedy of human nature is inevitable, and so is the tragedy of fate. What is the tragedy of fate? Like some Greek tragedy. Everything is beyond my control, it's all arranged by fate. For example, killing father and marrying mother is incomparable to human feelings. Who wants to do this? Oedipus' fate doomed him to do this, and he did it in fate. This is the tragedy of fate. Goethe's Faust is a tragedy of character, not fate, and A Dream of Red Mansions is also a tragedy of character, although this tragedy was arranged in a fate in the first time of A Dream of Red Mansions.
@ Chen Zhi also said that Water Margin is not a tragedy, perhaps because you didn't see the tragedy. According to Mou Zongsan, why is the whole Water Margin not a tragedy? Most of the characters in the water margin are sincere men, not bound by any society or organization, and Liangshan is an organization and society, which is a tragedy. Courtship is just a means to realize this tragedy. In fact, it reveals the human tragedy that the realm of "having the present person is" will not be tolerated by society and organizations.
Most of the author's views come from two articles, Mou Zongsan's "The Water Margin World" and "The Norms of Intellectuals in Han and Song Dynasties and the Way of Modern Intellectuals", which are for reference only.