Logical consistency between A Dream of Red Mansions Review and Tales on Earth. The first chapter of A Dream of Red Mansions Review is about "An Overview of Life and Art", which is the theoretical basis of A Dream of Red Mansions Review. But the discussion is not about the life (art) represented by A Dream of Red Mansions, but in the last paragraph, "We got a famous work called A Dream of Red Mansions". The second chapter discusses the spirit of A Dream of Red Mansions. At the beginning, I quoted Edgar's poem and thought that "the problem of Edgar is everyone's problem, but so is the big problem that everyone has not solved." Then he said, "The only person who can solve this problem philosophically is Schopenhauer's Metaphysics of Love between Men and Women in 2000. It is described in poems and novels, and it is almost impossible to know it all, but few people can solve it. " Wang Guowei launched the "greatest work" A Dream of Red Mansions by stripping bamboo shoots in layers: "A Dream of Red Mansions is a book that not only puts forward this problem, but also solves it." (6 pages) Then discuss its aesthetic and ethical value. The final edition of Ren Jian Thorn is also the theoretical basis of the first nine essays on Ci. 1 points out that the uniqueness of Ci in the Five Dynasties and the Northern Song Dynasty lies in the realm, and then does not discuss how to be unique. 10 to 54, generally speaking, we discuss how words have a realm in chronological order, but at the beginning, it is not a poet, but Li Bai, who is known as a "poetic fairy": "Too white and pure, weather wins." In the process of commenting on Ci, the spirit, aesthetic value and ethical value of Ci are also interspersed, and 55 to 64 are roughly equivalent to the "remainder" of A Dream of Red Mansions Review.
I. Chapter 1 "Overview of Life and Art"
Although "the argument is based entirely on my uncle", it does not directly enter Schopenhauer's theory at the beginning, but starts from Laozi's "the great misfortune of human beings lies in my body" and Zhuangzi's "putting me in shape and working for my life", which also shows that Wang Guowei is a conscious world outlook and methodology of "communication". China's ancient philosophy is not only one of the sources of his literary thoughts, but also Schopenhauer's "desire for life" to "save himself and his caste". People "want so much, work so hard, design so much, and have their own real desires." Has anyone compensated us for our worries and hardships? "So we must think and examine the essence of life." What is the essence of life? Desire is everything. "As can be seen from the writing of A Dream of Red Mansions,' exploring its source' is its consistent way of thinking: from the origin of life to the origin of art, it is actually the origin of human nature. Life is like a pendulum, reciprocating between pain and boredom, and boredom is also a kind of pain. Boredom and pain are naturally happy, but the pursuit of happiness is painful, so happiness and pain also reciprocate like a pendulum. " Therefore, desire and life, and pain are just one. "(2 pages) In short, pain is more than happiness, and pain is eternal. In order to satisfy desires and reduce pain, people will increase their knowledge to study the relationship between man and nature, society and others, that is, the relationship between me and things, so as to seek advantages and avoid disadvantages. From studying the relationship between this thing and me to studying the relationship between this thing and that thing, all kinds of sciences have emerged, but most of them are applied science rather than pure science. " Therefore, the success of science, though lofty and magnificent, is based on the desire of life, just as the political system is based on the desire of life. However, our theory and practice are the result of this desire for life. "(3 pages) Wang Guowei clearly pointed out here that applied science, like politics, is to satisfy the desire of life, and many literary theories and practices at that time were also to satisfy the desire of life. This is the value of A Dream of Red Mansions Review, and The Thorn on Earth was written under this understanding.
In "Thorns on the Earth", the researchers have the most ambiguous places in the third and fourth final versions:
There is my territory, but there is no my territory. "Tears ask flowers without words, and red flies over the swing." "It's like a cold spring closing a lonely pavilion, and the sunset setting cuckoo." This is my place. "Picking chrysanthemums under the east fence, you can see Nanshan leisurely." "From the cold wave, Bai Niao is leisurely." There is no room for me. There is my realm, I see things, so everything is my color. Without me, we look at things in terms of things, and we don't know what is mine and what is physical. The ancients wrote ci, and many people wrote my realm. However, you can't write my realm before you start, which is why heroes can stand up.
Without me, people can only get it in silence. If you have my place, you will get it when you are quiet. Therefore, one is beautiful and the other is magnificent.
No matter whether researchers praise it for innovation, question it mechanically, or even criticize it for eating it alive, as long as we carefully read this passage in A Dream of Red Mansions Review, we should clearly know that many viewpoints in A Dream of Red Mansions Review have been demonstrated in detail: "There is something that makes us detached from interests and forget the relationship between things and me. At this time, there is no hope, no terror and no desire for me in our hearts, but what we know is me. This is still a cloudy moon, and the rising sun is also awkward; Still in the sea, floating up and down, floating on the coast of my hometown; The cloud of Judah is desolate, and the winged angel comes from the gospel of peace; The fish is out of the net, the bird is out of the cage, and it swims around in the mountains and rivers. However, if things can make us detached from interests, it must be related to the interests of my characters; What is easy to say clearly must be immaterial. However, what is not art? " (Page 3) Wang Guowei used a series of literary metaphors here to vividly illustrate how art expresses "my realm". The sun broke through the dark clouds, capsized and anchored the hometown, angels brought good news, and birds and fish swam in the beautiful forest. At this time, "this thing is not good for us, our will to survive is broken, so we will escape, but we will gain knowledge." Under what circumstances will there be a "realm without me"? "If we can forget the relationship between things and me, and look at things, then the natural mountains are beautiful, birds are singing and flowers are fragrant, and there is no way out. It is not the land of Hua Xu, but the land of bliss. Is it just nature? Beauty, people's words and actions, what are the objects of sadness and laughter? However, this matter has a stake in us, and we want to look at it from the relationship. Since it is not a genius, why not reproduce what it sees in natural life in art, making people lower than wisdom, and because it has nothing to do with itself, it is beyond interest. " (Page 3) This is the "no-self realm" which is "only obtained in silence", because "looking from the relationship" and "my heart" are in a "static state", so it is "beautiful". We can also find the source of the last sixth sentence: "The scenery is not unique. Emotions and sorrows are also one of the realms in people's minds. Therefore, what can describe the scenery and have true feelings is called the realm. Otherwise, it is called no realm. " Aren't sorrows and sorrows just human joys and sorrows?
Moreover, we can see that this paragraph also explains the fifth rule in the final version: "Things in nature are mutually restrictive. However, when it is written in literature and art, its relationship and limitations must be forgotten. So although he is a realist, he is also an ideal home. No matter how fictional the realm is, its materials must be sought from nature and its structure must follow the laws of nature. Therefore, although it is an ideal home, it is also a realistic home. " The land of Hua Xu and the land of bliss are written by idealists, while the beautiful scenery and flowers of nature are concerned by realists.
Wang Guowei proposed that the state of mind when appreciating art should be "art is a kind of thing, people who want it don't look at it, and those who look at it don't want it", which is actually "realm". Because "the beauty of art is better than the beauty of nature, because it is easy to forget things." (4 pages) No.7 in the final edition of Shi Shuo Xin Yu: "The branches of red apricots are noisy in spring", and the word "noisy" is written, and the realm is exhausted. "Clouds break through the moon to make a shadow", and with the word "de", the realm is exhausted. "Noisy" and "noisy" are originally human behavior and psychology. Red apricots will not make a sound in the branches, and the moon will not break the clouds and give flowers a "shadow". From the natural phenomenon, it is impossible for the apricot to be noisy and the flower to be "shadowed". What is written in art can only be a fictional "ideal" state, so we should abandon the affair of red apricots and the spring scenery of branches. We should follow the laws of nature, such as "like another nature" created by Kant, and project our actions and psychology on apricots, branches, clouds, moons and flowers. All of them are spiritual, so "realists are also idealists" and "idealists are also realists".
Wang Guowei believes that "dazzle" is opposite to "elegance" and "magnificence", which "makes us leave the desire of life and enter pure knowledge", while "dazzle" is just the opposite, which "makes us return to the desire of life from pure knowledge". (5 pages) This is also criticized by Wang Guowei in "Words on Earth", such as the final version of 32: "The elegance of words is invisible to the gods. Although Uncle Yong travels less, he always has character. When the beauty of the party arrives, there will be a difference between a lady and a singer. " Why are the kind words of Meicheng and Yongshu different from those of prostitutes and ladies? It is because Yong Shu's Yan Ci is about "describing life", while Mei Cheng's Yan Ci only describes "the desire of life".
The core of Comments on a Dream of Red Mansions and Tales on Earth is that the purpose of art is to describe life, that is, to "explore the source": "Poetry, drama and novels are the culmination of art, and their purpose is to describe life." (Page 5) Therefore, the modernity of Wang Guowei's literary theory is not only manifested in the use of critical terms in western literature, philosophy and aesthetics, but also in a rebellion against the "desire for life" expressed by China's traditional fine arts (literature). Therefore, in Shi Shuo Xin Yu, Wang Guowei focused on the word "realm", that is, only works that describe life are "realms", rather than focusing on explaining what "realms" are. Therefore, the ninth sentence of "Words on Earth" wrote: "However, the so-called interest of Canglang and the so-called rhyme of Ruanting are still nothing more than noodles. If I choose the word" realm "to explore its source."
Second, the second chapter "The Spirit of a Dream of Red Mansions"
For the first time, A Dream of Red Mansions vividly "fictionalized" a hard stone abandoned under the green ridge peak, that is, the wish of "mending the sky", but this wish was not realized, and it was "painful" because no talent was selected.
Wang Guowei believes that A Dream of Red Mansions not only describes the desire and pain of life, but also writes a way out. Many people misunderstand that Wang Guowei thinks that the value of A Dream of Red Mansions only gives people a way out like Baoyu becoming a monk, so it is often criticized. However, the author believes that the significance of Wang Guowei's so-called "outlet" of A Dream of Red Mansions lies in that A Dream of Red Mansions not only describes life phenomena such as desire and pain, but also deeply thinks about why life produces desire and pain, and how to get rid of it. Therefore, he said: "The career of art is to describe the pain of life and its way out, so that our abundant followers can obtain temporary peace from the struggle of life desire in this bound world. The purpose of all art is also. " (9 pages) A Dream of Red Mansions and Faust are masterpieces describing human suffering and liberation, but Baoyu's liberation had no extraordinary insight into the nature of the universe long ago, and only the desire to live alone can relieve the pain of life. Therefore, Wang Guowei said that there are two ways to get rid of it. "One is to see the pain of others, and the other is to feel your own pain." (Page 8) The nightingale and Xichun in A Dream of Red Mansions belong to the first kind, but it is a supernatural, mysterious, religious and peaceful liberation, which is very human. Only Baoyu's liberation is natural, human, artistic, tragic, magnificent, literary, poetic and novel. In other words, Baoyu's desire, pain and liberation are real, natural and uninterrupted, and his language is present. "Baoyu's pain is also everyone's pain." (9 pages)
However, Wang Guowei's greatest contribution lies in discovering the essence of "the spirit of a Dream of Red Mansions has been greatly betrayed by our people, and we are addicted to the desire of life and lack of artistic knowledge" (page 9). If we read "Tales on Earth" along such a journey of discovery, we would not feel incomprehensible about the judgment that "the Five Dynasties and the Northern Song Dynasty are alone here". Although most of the authors and works mentioned in Benevolence China are recognized by everyone, there are also some works that are rarely mentioned in poems of past dynasties. The reason lies in the unique, true and natural personal realm.
Third, the aesthetic value of A Dream of Red Mansions
"We China people's spirit, the world also, lotte also, so on behalf of the spirit of drama, novels, without the color of lotte; It begins with sadness and happiness, ends with the departed and ends with the trapped. It is difficult to read the hearts of those who are not correct. " (page 10) Here, Wang Guowei raised an important question, that is, the orientation of China traditional literature is to please readers, rather than to "describe life" truly and naturally, because life cannot always be presented in a comedy way. Of course, Wang Guowei believes that A Dream of Red Mansions, contrary to all comedies, is an out-and-out tragedy, with the purpose of highlighting its value, especially affirming its "great betrayal of the spirit of our country" and vindicating the traditional China. Tragedy is not the only real literature.
Because China's traditional literature always likes the happy ending of Lotte, "As the saying goes, the justice of poetry has a good ending, and evil is rewarded with evil: this is also based on the characteristics of Chinese operas and novels." (1 1 page) In fact, what Wang Guowei wants to say is that there is a "habit" in China traditional literature: good is rewarded with good, and evil with evil. Special emphasis is placed on external, unknowable and mysterious factors, and there is no real and natural humanity and human feelings. Even if the works written in this way are loved by readers, how can we say "no separation"? The spirit of "Lotte" is also the opposite of "worrying about life" and "worrying about the world". The final edition of "Words on Earth" is 25 sentences: "I look in all directions and am invincible." So is the poet's anxiety about life. The west wind withered the green trees last night. Being alone in a tall building, watching the end of the world is like. Driving all day, I can't see what I want. Poets are also worried about the world. A hundred flowers blossom is a cold food road, whose tree is the fragrant car? "
Schopenhauer said that there are three kinds of tragedies, the first is caused by extremely evil people, the second is caused by blind fate, and the third is the tragedy of ordinary people, which is inevitable due to the interaction of the status and relationship of the people in the play. The third kind of tragedy is the tragedy that Wang Guowei believes that real literature should show: "It is not necessary to have the nature of snakes and scorpions and unexpected changes, but to be forced by ordinary people and ordinary circumstances; They know the harm, give it to them, give it to them, do their best and not take responsibility. " (1 1 page) This kind of tragedy is far more touching than the first and second tragedies, because the first two tragedies are frightening, but not all ordinary people may encounter them. Seeing such a tragedy can only make people sigh at most, because there is a distance, so they are "separated". The third tragedy is that it may happen to everyone at any time and anywhere. "And this kind of cruel travel can not only be influenced by others from time to time, but also add others; It's cool to bow down, but it's not unfair: it's the best in the world. " (Page 12) This kind of tragedy is inevitable for everyone, so "scenery is not unique". Emotions and sorrows are also one of the realms in people's minds. Therefore, what can describe the scenery and have true feelings is called the realm. Otherwise, it is called boundless. "True scenery and true feelings are just" common morality ","common human feelings "and" common circumstances ". Only such "true scenery" and "true feelings" can make readers emotional and tempted. Anyone with a little aesthetic consciousness has the experience of empathy.
"In On Poetry, Al Dedreux was called a tragic man, so he felt that people's emotions were on the high side, just like fear and pity, which was inherent in tragedy, so he felt it and washed people's spirits." (page 13) Therefore, ethical value and aesthetic value are consistent. True art can not only give people truth (spirit), but also make people feel beauty (aesthetic value), and then make people clean and purify their hearts and achieve goodness (ethical value). This is not only the value of A Dream of Red Mansions, but also the value of Legends on Earth. Schopenhauer put poetry at the apex of art and tragedy at the apex of poetry; In tragedy, the third one is particularly important. (page 14) Therefore, Tales from the World says, "An objective poet can't afford to read more stories from people to people. The deeper you read about the world, the more varied the materials will be. So are the authors of Water Margin and Dream of Red Mansions. "
Fourthly, the ethical value of A Dream of Red Mansions.
The word "realm" appears in the chapter of "ethical value". Although "realm" appeared many times in the article "Confucius' Aestheticism" published before the Review of A Dream of Red Mansions, this article is considered as Wang Guowei's translation, and the word "realm" is also a translation of English "realm". A Dream of Red Mansions Review is the first modern literary theory that can be recognized as Wang Guowei, so the "realm" here is isomorphic with the "realm" in Shi Shuo Xin Yu. "It makes people worry about patients every day, talk about things, and have no courage to seek relief, so heaven and hell will be gone; The realm it leads to has nothing to gain except dark clouds covering the sky and expectation. "(page 14) Wang Guowei believes that if there is only trouble, but he does not actively try to find a way out, his" realm "is darkness. The meaning of "realm" here is still focused on "realm", with a very obvious sense of space, but also a sense of time. Such as Huang Zhongze's poem "Love": "If the stars were not there last night, who would stand in the middle of the night? "
Why does Wang Guowei think that Baoyu's liberation is the highest ideal in ethics? The fundamental reason is not liberation, but Baoyu's liberation represents the liberation of people and literature from traditional ethics, politics and secular vassals. For traditional ethics, Baoyu "solidified the so-called sinners who abandoned their father and son, abandoned human relations and were disloyal and unfilial", but found the "true self". "If you look with your eyes open, you are the godfather. I know my grandfather's mistake, but I can't bear to repeat it. Is it unfilial? " (Page 15) In Wang Guowei's view, Baoyu's liberation is not only a big rebellion, but a failure to let the mistakes of his ancestors and fathers repeat the same mistakes. This should be called filial piety! In terms of art, A Dream of Red Mansions reversed the fallacy of traditional novels, and in terms of poetry, Li Houzhu also reversed the fallacy of traditional poetry. Therefore, the final edition 15 of Ci-Hua on Earth said: "When Ci-Hua arrived, the vision began to widen and the emotion deepened, so it became the words of musicians and scholars." Ordinary people only see the appearance in front of them, and only by "opening their eyes to see the world" can they broaden their horizons, make the audience real and feel deeply.
Comments on a Dream of Red Mansions not only has the word "realm", but also discusses the relationship between "existence" and "truth". "With the impermanence of life and the unreliability of knowledge, do you know that our so-called' existence' is not the so-called real person? In other words, there is nothing. Let us walk out of emptiness and satisfaction, hope and terror and get a place to rest forever, which is not as good as the so-called existence in the world! But what is the difference between our fearlessness and children's fear of the dark? From the perspective of people who have liberated themselves, do you know that the beauty of mountains and rivers and the magnificence of the sun and moon after liberation are not too much in today's world? " (Page 15) Usually, the situation of life is covered by "desire", so we naturally can't see "reason" and "environment". This so-called "seeing the sun through the clouds" means seeing the "truth."
Wang Guowei also had an incisive exposition on the value of art: "The value of art is not absolutely valuable for people who have started living in this world. Its material is taken from life, and its ideal is limited by the defects of life, but it tends to oppose it. Such art is valuable only in such a world and such a life. ..... The value of art lies in the desire to make people leave life and enter pure knowledge. " (page 16) Wang Guowei actually touched the core of reader acceptance here. The value of art is not always valuable to anyone, or it is called * * *. Wang Guowei applied this theory to the creation method of Ci in "Ci on Earth": "The west wind blows the Weihe River, and the sunset pours into Chang 'an". Beauty is integrated into Ci, and Bai Renfu is integrated into music, so the realm of the ancients is my realm. However, it is not its own realm, and the ancients did not use it for me. "(human words 47 draft)
Verb (abbreviation of verb) conclusion
First of all, people who criticized the novels at that time looked at them with textual research. If they had textual research on the protagonist in the book, it was naturally aimed at those "indexers" at that time. "The writer's husband's art is not personal, but the nature of all mankind. It's just that the characteristics of art value concreteness rather than abstraction. Therefore, the nature of all mankind is listed in the name of individuals. " (page 19) this is the core of Wang Guowei's literary thought, and it can also be said that his "universal" world outlook and methodology are the concrete embodiment in his literary thought. The individual is the ego, and there is me everywhere, while the whole human being is the ego, that is, there is no me. Only "people who are good at observing things can discover the essence of all mankind on the basis of individual facts", so "the words of the ancestors can really be called people who write with blood. Emperor Song Daojun's "Yanshan Pavilion" is also slightly similar. However, Tao Jun is just the sorrow of Tao generation, and the latter Lord has the meaning of Sakyamuni Christ to bear the sins of mankind, with different sizes. " (There are 18 articles in the final draft of human words)
Wang Guowei believes that the protagonists of A Dream of Red Mansions can be Jia Baoyu, Zi Xu, Wu, Na Lan and Cao Xueqin, because all works of art are successful as long as the essence of all mankind can be clearly seen. On the surface, it is textual research and indexism, but in fact it is aesthetic ideal. It is far-fetched to think that Jia Baoyu is Nalan Rong Ruo because there are words such as "red chamber" and "buried flowers" in Nalan Rong Ruo's ci, because the language of poets and novelists often has many "coupling" points, that is, "creating environment" creates "like another nature". If you think for the first time that the protagonist of A Dream of Red Mansions is Cao Xueqin's own life because of the phrase "I haven't seen many women with my own eyes", it is not a novel, but an autobiography. The reason why readers feel "real" is precisely because "realists are also idealists". "If the various realms and characters in the book are not understood by insiders, the author of the Water Margin is a thief and the author of the Romance of the Three Kingdoms is a strategist." Naturally, this is nonsense. The "country" here is close to Schiller's "country" We can also notice that Wang Guowei quoted a long passage from Schopenhauer's The World of Will and Ideas (Representation), in which the word "class" is worthy of our deep thinking, because this "class" is very consistent with the "mother" and "three classes" mentioned in the fifth chapter of Literary Essays, that is, the "three realms" in the words on earth. "The product of human beauty and the one in nature must be explained by the following words: that is, the will lies in its highest level of objectification (people), and it relies on its own strength and various situations to overcome the resistance of its subordinates (natural forces) to possess its material resources. The discovery of the will is also at a higher level, and its form will be very complicated. "
This chapter discusses who is the protagonist of A Dream of Red Mansions, which is the key word of "creating and writing environment" clearly put forward in Tales on Earth: "creating and writing environment" is the difference between this ideal and realism. However, it is quite difficult to distinguish the two. Because the environment created by great poets must conform to nature, the environment written must also be adjacent to the ideal. Schopenhauer said, "Therefore, only nature can understand nature, and only nature can speak of nature, so it is not surprising that artists have expectations for the beauty of nature." (Page 22) No matter "creating environment" or "writing environment", as long as the real and natural people and things express the feelings and truth of all mankind, they are all "great poets" and their works are "realms". After quoting a long passage from Schopenhauer about the origin of art, Wang Guowei wrote: "From this point of view, all kinds of characters and scenes in A Dream of Red Mansions must be based on the author's experience, and the beauty of sculptors and painters must be one knee and one arm." (Page 22) Later, what Lu Xun called "eclecticism and integration" should also be regarded as "creating the environment".
The reason why Wang Guowei's Comments on a Dream of Red Mansions is applicable to The Thorn on Earth is because Wang Guowei applied Schopenhauer's painting and sculpture theory to the enlightenment of poetry and novels. Wang Guowei "broke" the "confusion" of "China people" with A Dream of Red Mansions Review, and now he will also "break" this confusion from the author Wang Guowei.