The landlord can look at the works of redology, which have many comments. In terms of thinking, we can look at Zhou Lao's Twelve Stories of a Dream of Red Mansions and some works by Yu Pingbo, both of which are very classic. If you appreciate poetry, you can look at the appreciation of Cai Yijiang's poems and songs in A Dream of Red Mansions. Comments on characters can start with Wang Kunlun's On Characters in a Dream of Red Mansions. If you write in one way, you can look at the works of Zhang Ailing and Wang Meng.
Finally, I would like to recommend Wang Meng's "Wang Tells a Dream of Red Mansions". I think it should suit the taste of the landlord. After all, each article is relatively short.
And it's well written.
Post a few paragraphs to the landlord to see if it is appropriate:
Confusion of choice
From this point of view, Lin Daiyu and Xue Baochai, the representatives of writers, can also be called two poles in human nature, especially women, or female characters that writers love, admire and even admire. If the writer tried his best to show his admiration for women at the beginning of A Dream of Red Mansions, then this admiration was first manifested in Lin Daiyu and Xue Baochai, without any usual citation. These women are characterized by beauty, intelligence, nobility and spirituality. In these respects, Chai and Dai are the same and inseparable. On the other hand, they are quite different. First of all, from a physiological point of view, they are fat, thin, weak and strong ... there seems to be no deep meaning here, but it is not without pressure. Guy's values of female beauty are fat and thin, strong and weak. In fact, human society (male-centered) has been tossing and turning, making up our minds. In the Tang Dynasty, fatness was the beauty of our country, and in some island countries in the South Pacific, fatness was the noblest. So far, some men choose their spouses not because they are thin. At the same time, it is no exaggeration to say that countless beautiful girls bend over to lose weight in order to lose weight, which has almost become one of modern trends. In this way, Cao Xueqin's writing about Baochai in those years revealed people's confusion in choosing between Baochai's "gorgeous rhyme" and Daiyu's "graceful and graceful romantic style" and between "gorgeous and thin" and "happy and fat". It's a pity that you can't have your cake and eat it-not only Baoyu, but also any woman. Isn't it strange to say so?
From the psychological mechanism, the distance between Baochai and Daiyu is even greater. Emotion and reason, spontaneity and high self-control, enthusiasm and calmness, dedication and self-protection, talent burning and keeping Shang Tong, all of which have long attracted writers' brushstrokes and readers' nerves. For example, the personality conflict between Anna karenin and her husband karenin is not without this color. I wonder how Tuo Weng's book is reflected in other countries. Anyway, among the working people in China, there are indeed people who sympathize with karenin and blame Anna. This is not a fantasy, but an authentic local product. I want to ask another disappointing question: As a novel, as a character in a movie or TV series, Anna karenin is beautiful, passionate, vivid and even sublime. Can you stand such a lover in real life? At least for Chinese people, Sister Lin and Mrs. karenin are unattainable, aesthetic and unpretentious. Moreover, not only the descendants of the dragon, but also the gushing Luo Ting touched the hearts of extraordinary Russian women. Didn't she run away when the real thing happened?
Of course, we can say that Baochai and Daiyu represent two different personalities. Similarly, can it be said that Baochai and Daiyu represent two psychological mechanisms, revealing the sensitivity, understanding, confusion and regret of great writers for these two psychological mechanisms? Strictly speaking, it is difficult for a person's psychological mechanism to develop unilaterally and highly to the level of Baochai or Daiyu. It is difficult for two girls to be smart, beautiful and unique, and it is difficult to distinguish between high and low to the level of Chai Dai. Baochai and Daiyu in A Dream of Red Mansions are vivid attachments and sustenance rather than factual records. In the final analysis, they express the author's heart: mourning for his own gold and jade is not only the prototype of gold and jade in real life, but also the author's life ideal and feminine beauty. They are not single and pure in themselves, but full of inner contradictions and choices. The alienation, opposition and friendship between Baochai and Daiyu (who can deny that they have established quite good friendship, especially after a friction contest) are not only the entanglement of two people and two personalities, but also the portrayal of the overlap, division and conflict of two psychological mechanisms and two self-positioning in one person's inner world, and the writer's ideal and ideal, ideal and reality, and reality to human women.
Xue Baochai's spirit
Xue Baochai embodies a kind of identity spirit: identity with the existing value standard system, identity with the principles of order, obedience and benevolence of "courtesy" taught by Confucius, and identity with the principles of balance and utility in interpersonal relationships. What Xue Baochai embodies is a kind of rational, calm and almost cold self-control, that is, "self-denial and courtesy". Xue Baochai's performance can be regarded as the embodiment of (then) cultural ideals: well-founded, both rigid and flexible, well-behaved, sometimes hidden and sometimes present. This is a politician's quality, reminiscent of Fan Li, Sean, Xiao He and Wei Zhi, far better than Shang Yang, Wuqi, Wu Zixu and Han Xin. Out of anti-feudal enthusiasm, we can completely belittle this cultural ideal. We can condemn Xue Baochai's heart, dismiss it as false, and claim that "I don't believe it". It is difficult for others to defend Xue Baochai. The more ideal Liu Bei and Song Jiang are, the more they will be denounced as hypocrisy and ridiculed as buying people's hearts. This not only shows that it is difficult to distinguish between true and false, but also shows that the more perfect an ideal is, the harder it is to be accepted and the lower the credibility of its realization. "Everyone knows that beauty is beauty and evil; Everyone knows that good is good and bad is bad. " I don't know if I can get some confirmation of this famous saying of Laozi here. We can also feel alienated, disgusted and even amazed at Baochai's superhuman shrewdness, shrewdness and calmness. However, we have to admit that in social life, even if couples, fathers and sons, brothers, two or more people get along, if there is no minimum reason and self-control, if there is no minimum spirit of Xue Baochai, and if you absolutely do whatever you want, it is difficult for social relations and interpersonal relationships to be stable and harmonious for even an hour. We have to admit that it is difficult for a person to live a normal life for 24 hours without committing suicide or going crazy if he refuses the slightest recognition. Including Lin Daiyu, who is written from the opposite side, is not devoid of Xue Baochai's spirit: you see, when Sister Lin first entered Jia's house, didn't she want to be easy-going and even changed her habit of drinking tea after dinner? When Miss Lin was educated and helped by Sister Bao because she quoted something that should not be quoted in a casual book (suspected to be yellow), didn't she accept it humbly and sincerely appreciate it? We can complain about the depth of Xue Baochai's humanity, but we have to admit that just as waywardness is a manifestation of humanity, waywardness is also a manifestation of humanity, even if it is called a variation of humanity. Variation is also human nature. Who can say that there is only one mode of human nature and it cannot be varied? Only by acknowledging that Xue Baochai's psychological mechanism is also a level of human nature, which has its necessity, rationality and possibility, can we explain why there are so many Taoists, militarists, wise men and ascetics at home and abroad, and why Xue Baochai is also an ideal.
Lin Daiyu's spirit
However, if there is only such a mechanism, such ideals, people, life and interpersonal relationships will be too boring, too lonely and too indifferent. That kind of person is more like a computer full of programs than a person. Of course, a certain degree of computerization, as mentioned above, is also the proper meaning of human nature. Perhaps it is in this situation, with the improvement of scientific and technological social organizations and the increasing trend of human computerization, people need the correction, supplement and impact of Lin Daiyu's girlish temperament. An earth-shattering, fiery and tragic love, who can not cry for it? The more modern society fails to produce Lin Daiyu-style characters, and the more it weakens or even sweeps away Lin Daiyu-style psychological mechanism, the more readers will welcome, yearn for and love Lin Daiyu. Lin Daiyu is an ideal, Lin Daiyu is a poem, and Lin Daiyu is a feeling in itself, a feeling that human beings yearn for, and there is no feeling that all computers can't get and dream. Lin Daiyu's love, jealousy, paranoia, entanglement, fear, and Lin Daiyu's illness show the hearts of many weak people, and also show the hearts of many strong people who subconsciously don't want to be known. As mentioned earlier, Lin Daiyu's "Xue Baochai Spirit" was written in A Dream of Red Mansions. Then, does Xue Baochai also have the "spirit of Lin Daiyu"? It's hard to say that Baoyu was beaten. Baochai's two forgetful performances were Xue Pan's Tears, Making Clothes, Being Soft and Shameful, and I doubted you first (see the thirty-fourth chapter). In other words, people in society will have the spirit of Xue Baochai, and people, especially women, will have the spirit of Lin Daiyu. Reading Lin Daiyu will produce recognition, euphoria and catharsis in this respect, sober reflection and transcendence of overlooking, which are important factors that constitute Lin Daiyu's artistic charm. In the era when Cao Xueqin was alive, when feudal etiquette and laws heavily bound human nature, especially women, the appearance of Lin Daiyu was like footsteps in an empty valley, and its artistic impact was unparalleled.