Chapter 26 Fifth Floor "Red Mansion" Aesthetics (4)

Hitting the Tail First Response The snake seems to be an unwelcome character in people's ordinary life.The ancestors had a "bad impression" of it. It is said that the old saying "Wu it" originally meant "no snake", which was used to express safety and well-being. Looking at "it" today, it is written as "Lun" in seal script, which really looks like a "cobra". "The momentum of attacking people with their necks out.But in literature and art, it is not so annoying, and it is often used.Ancient calligraphers said that his enlightenment of cursive method came from "two snakes fighting for the way", and Po Gong also said "spring worms and autumn snakes".As for the painter, drawing a snake adds another foot, but it is passed on as a rumor.The poet Dongpo compares the end of the year to a big snake returning to its cave, and the tip of its tail can't catch it.As for writers, snakes are even more precious. For example, when critics appreciate Xueqin's rafter brushwork, there is an example of "three snakes".

What is the example of "Three Snakes"?One is Zhiyanzhai, which uses a snake as a metaphor twice, saying that it is a "grass snake with gray lines, and its veins lie thousands of miles away", and it is also said that it is like "a snake in Changshan, when it hits the head, the tail responds, when it hits the tail, the head responds, The belly is the head and the tail."One is Li Songxuan, who once said that Xueqin's brushwork is like "an angry snake coming out of its hole, winding and unruly".This "three snakes" metaphor shows another great feature of Xueqin's art.

In China, masters of writing for thousands of years, based on their experience in creation and appreciation, have sorted out many rules and formulas for writing and writing, which are important rules of Chinese literary theory and practice—even the "stereotyped writing" that people have ridiculed one after another, In fact, its ridiculousness mainly lies in the fact that the content must "stand for the sages and sages", not that the writing of the article is useless. The "stereotyped" formula is actually a summary of the rich and accumulated writing methods—from the perspective of Western habits, it is also a kind of "discussion aesthetics" worth discussing.That is to say, metaphors such as "Fumai Qianli" did not start from Zhiyanzhai. Jin Shengtan had long liked to use it, but Xueqin's use of this technique in "narrative aesthetics" has really reached a high level of perfection, so he criticized the book. People's emphasis on this point is entirely out of discernment, not just following the old stereotypes of the predecessors.

It is said that some literary and art theorists objected to this kind of "pulse pulse", did not recognize its truth and existing examples, and claimed that all literature and art are based on "nature" as the ultimate principle, and that only "credulous writing" is the best in composition, and all business creation It's all "lower vehicles" and so on.I think there may be two reasons for this: one is that he lacks the ability to experience, and the other is that he has mistaken the true meaning of "nature".Literature and art, referring to the creation of human beings, are exactly "artificial", which was originally compared with "ingenious"; what looks like "natural" is actually a kind of beauty of his "artificial" attainments, no longer Showing the "axe marks" of his hard work—that's all.Is there any "all natural" artwork in the world?

In his great book, Mr. Lu Xun set up a special chapter for the twenty-fourth chapter. When discussing the advantages and disadvantages of the sequel, he clearly put forward a key point of judgment, that is, whether it is "different from the "subsequent line" of Xueqin's original book. Back" this standard.This shows that Mr. admits that there is indeed such a method in writing, and Xueqin's book uses it—and at the same time, this shows an important problem: Xueqin "ambushed" many "gray lines" in the first half of the book. ", but to set a clever hint or "prediction" for the second half of the book.Not acknowledging this crucial writing technique is tantamount to "eliminating" even the eighty existing "previous books"—because a large number of foreshadowings are incomprehensible, or they feel strange, or they are ridiculed as "superfluous texts" , so one of its major arteries and meridians was removed from this huge artistic masterpiece, not only its "body" became severely disabled, but also its "vitality" and "life" were also deprived.

It seems that Xueqin's hidden line volt method can be roughly divided into two categories: one is generally read, as long as one can see it with meditation; get acquainted.The latter is more important - it is also Xueqin's unique creation and contribution in this writing aesthetics, which is rare in ancient and modern China and abroad. Now I will take one or two small examples from the story of mandarin ducks and try to explain them. Yuanyang is one of the main characters in the "Twelve Hairpins and Second Volume" in the whole book. It is related to the big accident of Jia's family's death, and it is also one of the daughters with the worst ending among the fallen women.For Xueqin, there are three layers of foreshadowing in the main context.

The tragedy of Yuanyang is tied to Jia She, a pervert.According to the different version of the old manuscript that Professor Jiang Liangfu of Hangzhou University saw in the library of Kongde School in Beijing in his early years (that is, it is completely different from the popular one-hundred-and-twenty return journey and the high-level version), Jia’s family was defeated and convicted because of Jia’s amnesty. Two lives were lost.Who does Jia Amnesty want to harm?Apparently one of them is a mandarin duck.The proof (actually it is a foreshadowing) is in the forty-sixth chapter—— (Mandarin Duck cries to Mother Jia) Because of my disobedience, just now the elder said that I am in love with Baoyu, otherwise I will wait to be hired outside——I am in the sky, and I will never be able to escape his palm in my life!It's time to take revenge!I was determined to be here in front of everyone: my whole life, not to mention Baoyu, is Baojin, Baoyin, Baotianwang, Baodi, and it will be over if I don’t get married anyway!Even if the old lady forced me, even if I wiped him to death with a knife, I couldn't obey her orders! ... The old lady has returned to the west, and I will not go with my elder brother.Either I commit suicide, or I cut my hair and become an aunt!

Listen to what Jia She said in his original words—— "Chang'e has loved young people since ancient times", he must think I am old, probably he is in love with young masters—most likely because of Baoyu, maybe there is also Jia Lian.If you have the intention, tell him to rest early, if I want him not to come, who will dare to accept him in the future? ...The second thing, thinking that the old lady loves him, he will naturally be hired as a husband and wife in the future.Tell him to think carefully: no matter who he marries into, it's hard to get me!Unless he's dead—or never marry a man for life, I'll slay him!

Please "two Caos against the case", then the words will be understood. The mystery here is: Baoyu looks like the master, but it is actually a supporting role; Jia Lian looks like a guest, but it is the topic.How do you say this?It turned out that one time Jia Lian, the head of the family, was troubled by the family's finances, and at the moment he had no way to deal with it, so he came up with a trick, begging Yuanyang to smuggle the old lady's personal belongings, pawning the money, to tide over the difficulty temporarily.Yuanyang is a compassionate person, so he agreed.Unexpectedly, this kind of thing was soon spread by the "ear god" planted by Mrs. Xing, and Jia Amnesty heard it.Therefore, this elder suspects that Yuanyang and Lian'er are "good friends", otherwise how would she care about him?This matter was very popular, and it was known to both governments.

Look at the fifty-third chapter, when the end of the year comes, Wu Jinxiao comes to deliver things, and Jia Zhen tells him that there are many important things in the West Mansion, and she is even more embarrassed.At this time, Jia Rong interrupted and said: Sure enough, the mansion is poor.A while ago, I heard Miss Feng and Yuanyang secretly discussing about stealing the old lady's things and pawning them for money. This is a proof—in fact, it is a "volt", a "hit" and a "response". In the forty-eighth chapter, Jia She forced his son Jia Lian to buy a few good fans from the stone nerd.Jia Lian couldn't bear to hurt others. His father got angry and beat him up so badly that he couldn't get up from bed—this is written in "dark scene". be informed.Listen to what he said, although it was because of the fan that the family was ruined and Jia Amnesty was "blocked" with words, there were still "many small things mixed together, so I didn't know what to use to fight." "! These "little things" imply Mr. She's perverted psychological "jealousy" - because Yuanyang "fell in love" with his son Jia Lian.

Both Jia Lian's parents were jealous of this matter. Mrs. Xing asked him for money once, but Jia Lian couldn't get it for a while, so Mrs. Xing said: "You can even ship out the old lady's things. Why don't you use some money?" Got it? All of these are the clues that later Yuanyang was forced to kill by Jia She and died unexpectedly.The so-called "grass snake gray line, the veins are thousands of miles away", it is not bad at all. Of course, when I don’t understand this kind of brushwork and structure, when I read Xueqin’s dark spots, I feel at a loss and have nothing to do with them. What’s more, I think that "one stroke is one stroke, one stroke is another stroke", and the superfluous words are full of ink, tedious details, etc. Messy and out of order - inexplicable.Moreover, because Cheng, Gao and others concocted forty fake tails, which completely disrupted and eliminated the original structure, it is even more difficult for readers to imagine such a rationale.