Chapter 27 Fifth Floor "Red Mansion" Aesthetics (5)

Speaking of this, I just put out a "killing mace" to surprise you!That is, after the symbol of "Baoyu Burying Flowers" is closed, with what kind of literary sentiment is it "stopped"?Then in the twenty-third chapter——I picked up the fallen flowers, and just buried the compromise, I saw the attacker coming and said: "Where did you find it? Touch it here!"—The old man over there is not good, girls Everyone go over to say hello, the old lady told me to send you. Go back and change your clothes." So Baoyu rushed back to the courtyard.When I went back to the room to have a look (the twenty-fourth chapter has been entered)——

It turns out that the mandarin duck is watching Xiren's needlework on the bed... When Yuanyang saw Baoyu coming, she passed on the old lady's order and told him to change clothes and go.While holding the clothes, Baoyu climbed onto the mandarin duck, wanting to eat the rouge from her mouth! Please take a look!As soon as the flowers were buried, the mandarin ducks came out first, and the appearance of the mandarin ducks was because they were associated with the "grand master". This is simply wonderful.I don't know which book has such a unique masterpiece?This is really worthy of the "gray line" that has been "subdued" far away from "thousands of miles".It is scattered among several books and texts that are not connected on the surface, and those who are not aware of it will not know the taste.And when you comprehend it, you can't help but be amazed. There has never been such a miracle in ancient times.

This example is mentioned here for the purpose of "subduing the pulse".In fact, those who are good at enlightenment have already realized this: the original "two voices", "two slips", "waves and eyes", "write this and note the other" are at the same time convinced that there is no doubt about its exaggeration and mystery. 【Note】 The strokes of Fuxian are spread throughout the book, and the examples can only give a glimpse or two, and there is no way to list more.Generally speaking, talking about volt lines seems to refer to the situation of individual characters, that is, multiple volt lines, which are also scattered and fragmented.Such examples are easy to come by.But there is another situation in the book, that is, the seventy-second chapters are all subtexts of the following texts, and all of them are very important.This is an extremely prominent literary example in the history of our novels, and it should have been discussed emphatically.But from a structural point of view, the seventy-second chapter is the number of "eight or nine", and the second half of the book is all started from here, and it involves the exploration of "Exploring the Lost Learning" everywhere. can accommodate.But I should point this out first, so that I can fully explore and understand Xueqin’s Fulin brushwork—especially because many people don’t feel very familiar with the content, tone, and function of Chapter 72. "Get the taste", think it is "superfluous" "casual text".It can be seen that this book is a new thing in the style of novels.

In Chapter 74 of the big mandarin duck case, there is a large dialogue between Feng and Ping to remind the rest of the text, but Cheng and Gao Ben deleted the important structure mechanism of more than 200 characters, and their intention of tampering with the original work is Readers should understand. The essence of "poeticization" Reading, of course, is "reading novels", but in fact it is more about appreciation of poetry.Without the vision of poetry and the "light of heart", it is impossible to read.The so-called poetry does not refer to the conspicuous forms, flat and flat, five-character and seven-character, etc., let alone scenes such as associations, couplets, and poems.It means that the main method of expression in the whole book is poetic, and the emotions and scenes presented are also poetic.I use "poetry" here to represent a general context and essence of Chinese culture and art, which is barely called "state".

What is the meaning of "boundary"?People who talk about literature probably inherited this term from Wang Guowei's argument that there is no realm to distinguish between superiority and inferiority.According to the original meaning of "realm", it is only a geographical area and has no deep meaning (see Zheng Xuan's commentary on "Poetry", when dealing with a "rebellious country", we must first "correct its realm" and not go beyond aggression).But later it was gradually borrowed as the spiritual scope of wisdom (such as the Buddhist scriptures have said that "this meaning is profound, not my realm", it is the scope of comprehension ability).The environment is the environment, and the environment includes the object environment, so there are the words "object environment" and "environment object".The famous saying of the great painter Gu Kaizhi, who was "infatuated", "eating sugarcane upside down, gradually getting better", has been more clearly extended to the meaning of "knowing the taste", that is, the state of feeling and experience.Therefore, the environment has both the physical environment (outside) and the mental state (inside).When it comes to the "inner" environment, it is no longer an objective and faithful "reproduction" of the external environment, and there is no real "reproduction" in literature and art—that is, it seems to be "writing the environment", but it is actually "creating the environment" ( Mr. Wang Guowei also raised these two at the same time).Probably for this reason, the word "realm" was used first, and then the word "artistic conception" was used partly.

This just shows that even "writing the environment" cannot avoid the author's "meaning" - what he creates is not a pure and simple "reproduction", but has been infiltrated and improved by his spiritual wisdom. Chinese poetry pays special attention to this "state" or "artistic conception".And the true charm of the art of "Red Mansions" is produced here-it is not just "descriptive", "portrait" and "shape" as some people think. Therefore, I say that the beauty of poetry everywhere infects and moves people's souls, not just the ingenious narrative techniques that are admirable.

Only this point highlights the main difference between "Red Mansion" and other novels.Why?Because Xueqin is not only a great painter, but also a great poet.When his best friends wrote poems to praise him, the poems always came first, followed by the paintings.Of course, what Chinese painting expresses is not "reappearance", but a "poetic realm"—hence the title of "silent poetry".Dongpo's saying "There are paintings in poems, and poems in paintings" has also become famous for a long time; but if I want to explain it further, it may be said that "poetry is painting, and painting is poetry".Xueqin is good at these two strengths, so his writing really has the beauty of poetry and painting. If you only use the "literary theory" of "Eight Great Masters of Ancient Chinese" and "Stylish Classical Chinese" to appreciate "Red Mansion", it is inevitable to buy it and return it. The loss of the pearl.

There is no such thing as "portrait" in Xueqin's landscape writing. He always turns the landscape into a landscape, and conveys the landscape with "poems"-this "poetry" has nothing to do with the format. When I read "Red Mansion", I often feel as if I am personally in the painting because of the "description" of a few words and two or three sentences in his pen.Still taking the seventeenth chapter as an example, it was the first time to show readers this newly-built famous garden. The "overview" of the hospital is only: Surrounded by whitewashed walls, green willows hang around.

A pair of small "couplet sentences" in eight characters will bring out the realm.The courtyard he wrote makes strangers like reading Song Ci "Swing outside the door, pink on the wall, who is in the deep courtyard"?I don't feel fascinated.