Chapter 24 Fifth Floor "Red Mansion" Aesthetics (2)

Let's see, this paragraph itself already has two levels: one is to write about Daiyu's "scheming eyesight" (Zhi Yanzhai's comment) of "paying attention to every step and always caring", because this is all seen from Daiyu's eyes. and one side is about Xifeng's "exquisite skills" and "smooth in all directions". Seeing that she has the supernatural powers of thousands of hands and eyes, she never loses one person and never misses anything.However, this passage is about Xifeng alone, but in the dark it is about Daiyu, Jia Mu, Mrs. Wang and several other people at the same time.

Since Daiyu appeared on the stage, we only know that she is "intelligent and delicate", "very young, and extremely timid", "good manners and speech", "although she is very timid, but has a natural and romantic attitude"; After Sister Feng took her hand and looked up and down carefully, she wrote positively for the first time, "There is such a beautiful person in the world, and I will meet him today!"Therefore, Zhiyanzhai has a comment here, saying: "From Fengkou, the beauty of Daiyu can be seen, and it is suitable for historical writing."

As soon as Sister Feng came on stage, no one else said anything, but "Mother Jia laughed and said" first.Zhi Yanzhai commented on the side: "As soon as Ah Feng arrives, Jia's mother smiles. It is a puppet with so many words of laughter in the following text." It is true, and it is true after reading it.Sister Feng praised Daiyu in order to please Jiamu, saying that "the old ancestors talked about it every day, and never forget it for a while", in order to express "favor" to Daiyu for Jiamu, and then "wipe away tears with a handkerchief".Next, Mother Jia "smiled" and said, Yun Yun, to the following passage of Mother Jia, Zhi Yan criticized: "The writing is extremely beautiful!" The pen has exhausted the relationship between Sister Feng and Jia Mu. One is "Cheng Huan Ying Hou" (also known as "Zhi Pi"), and the other is made by her. On the contrary, she likes her very much and loves her infinitely.

Then it is written that Sister Feng dealt with Daiyu as the "head of the family", and even the servants she brought were never left out. Then Mrs. Wang asked her if she had run out of monthly money.This is still from the line of "The Head of the Family", but it has a new layer of interest and is unique; Ping'er talked with Xiren, and only then revealed the secret. It turned out that Sister Feng even used the monthly money that should be paid to everyone on a usury basis to fill her own pockets-this has a lot to do with the ending of Sister Feng in Xueqin's original manuscript.

Then Sister Feng bluntly criticized Mrs. Wang's "misremembering" about the satin. She had already seen Mrs. Wang's confusion; "I've already prepared it." Zhi Yanzhai broke the mechanism here and said: "I know that Ah Feng has not taken out this satin. I borrowed Mrs. Wang's words to deceive people. If you believe it, you will come up with the preparation." , was not only deceived by Ah Feng, but also deceived by Shi Shi!" These words can be said to hit the nail on the head, and won the original meaning of "Stone".In fact, based on this, Sister Feng said that "the monthly money has also been released", whether it is true or not, I am afraid that it is difficult to determine.All in all, Mrs. Wang's insensitivity, and one or two small things have been written in a few pens.

When Zhi Yan went to Jia She's courtyard in the next article, she saw that "many concubines and maidservants in beautiful costumes" had come out to greet her, and commented: "This sentence is about Jia She (note: referring to Jia She's lust). It's wonderful. Now it’s all about hitting the east and hitting the west, and it’s a brush that scares the snake. If you read it and write it for one person, you will read it for that person, and you will be dumbfounded!” This is just a footnote for the example we cited above. Interestingly, what Zhi Yanzhai pointed out is "pointing to the east and attacking the west, striking the grass to startle the snake", which is exactly the unique characteristic and peculiarity of Qi Liaosheng's "note the other and write this, watch the other and wave the hand".The two people can be said to coincide with each other, which also shows that this is not the private opinion of one person. It is indeed a wonderful truth that is appreciated by all who have eyes.

Everyone's impression of Chai and Dai seems to be that one is withdrawn, the other is kind; the other is sharp, and the other is harmonious.In fact, this is only one side of Xueqin's writing, and there is another side, which is often overlooked by readers.In the thirtieth chapter, the little girl Indigo asked Baochai for nothing because she lost her fan, and Baochai spoke harshly, pointing at her and saying, "You must be careful! I have been stubborn with you, and you doubt me again! I have never been with you." You should ask those girls who are smiling every day, you should ask them!" This kind of words and expressions of accusation and scolding, with a gun and a stick, have written Baochai's inner and truer side. She is actually very powerful, not good. At the same time, it also reveals that she and the maids maintain the face of "the dignity of the master"; while Daiyu is the girl who loves to joke with the maids and has the best relationship with the maids. She is an innocent, lively and funny girl, not A morbid character who has been in "worried brows and tears" all her life, her "shortcomings" in our impression are just her performance when the pain of love is deeply tormenting her—otherwise, such a kind of Lin Daiyu, an unkind "monster" sick beauty, what else is cute?What else can make Baoyu live and die?

The more ordinary a novelist is, the more he is afraid that readers will be "low-minded" and unable to read his articles clearly, so he tries his best to express his meaning: when he writes happy, he smiles, when he says sad, he snot and tears; the plot is slightly hidden Qu, immediately "I don't know what the official is, but it turns out to be so and so", and "represented in the book (representing the meaning of telling the truth)".In short, he only has that superficial side, and he is afraid that readers will not understand, and all available adjectives have become cheap "description" magic weapons.As a result, the article becomes something simple and insipid and clear at a glance, and it will never be a great work of art with charm and beauty that can make people wander and linger.The reason is that it lacks thickness and depth not only in terms of ideological content, but also in terms of writing.

To appreciate, I think this kind of place should not be careless and swallowed whole.Of course, if you go beyond the scope of literary works and do the work of "searching for hidden meanings" everywhere, that is a problem of another nature, and it is no longer what we mean by "appreciation". . A high-performance "camera" The development and popularity of photography occurred in the late 19th century, and Xueqin was born in the early 18th century. How can we talk about photography and video?However, it is strange to say that in his hands, it seems that there is a high-performance camera, which has taken countless "photographs" and shots, and can "edit" the organization to become a "film", with stillness, movement, and distance. There are close-ups, panoramas and "close-ups"... He seems to have known the things and skills of "shooting", "photographing" and "recording" for a long time.

Any rhetorical method of "making an analogy" or "making an analogy" is flawed, because the two sides of the comparison can only have one or two points, and some parts are similar to form a comparison, but never all can be "compared" .I compare Xueqin's brushwork to taking pictures and videos, but it is just a "skillful and convenient" method, so there is no need to be too rigid here and just talk about it blindly.The analogy I made was first proposed in 1981 when the National Conference on "Red Studies" was held in Jinan. At that time, or before that, no one dared to talk about the characteristics of art (because the rule at that time was that when talking about art, it seemed to be ignoring and underestimating the "ideological nature" of literature, which was wrong and should be criticized ).I brought up this analogy at the meeting, and everyone thought it was "unheard of" and was very interested.

But the purpose of my analogy is to illustrate an artistic problem, which I call "multiple angles". In traditional Chinese novels, when writing characters, most of them use the "straight strokes" method, and the "side front" method is rare.The so-called "right writing" refers to the "angle" taken by the author, who is looking at the characters and writing.For example, when taking pictures, he holds the camera in his hand and faces the people in front of him, rather than taking other angles.But Xueqin is not. Chinese painting art pays attention to "three distances", namely: flat distance, lofty distance and profound distance.This is equivalent to the principle of "angle" and "perspective", but it is different from Western perspective.The latter is always based on a fixed "foothold", but also seeks a scientific "focal length" before showing the full picture.China, on the other hand, adopts a special expression law of "dispersed foothold and focus", which is most obvious in landscape painting. "Pingyuan" and "Gaoyuan", the angles are different, but the "Zhengbi" remains the same, it can't "rotate"-it can't be like Su Dongpo said, "horizontally, the side becomes the peak, and the distance is high and low. Each is different".Xueqin has a deep understanding of this, and he has created an unprecedented "multi-point" and "multi-angle" style of writing in the writing of novel characters.However, Xueqin's enlightenment lies in the method of "turning" from the enlightenment: Dongpo emphasized that different angles of observation lead to differences, not the real face; ", combined to get the full true appearance of the object. "Multiple angles" is not for diversification, but for commonality, which is an extremely important point. I use the analogy of taking pictures and cameras, first of all to illustrate this point.A person with a camera in his hand can take pictures from various angles and distances, such as high, low, far, near, and pitch.Today's people certainly don't find this surprising, but for Xueqin in the early Qianlong period of the Qing Dynasty, how could he realize this wonderful principle?What are the miracles of non-special geniuses?Wouldn't it be amazing?