The suffering of others is the source of art. And you suffer only to become the source of other people's art. ——Wang Xiaobo
The main content of this section is on the poetry of suffering.
For the subject of suffering, I feel that I am still not exhausted, and I need to say a few more words. Yes, the concepts of "poetic pain", "poetic pain", and "poetic suffering" were invented by the author. The poeticization of suffering is not an ostrich policy, not a cover-up bell, but another window opened by God. Suffering is the truth of life, poetry and art are the goodness and sublimation of beauty in the broad sense, and only when human beings cover the truth of suffering with the generalized goodness and sublimated beauty can the soul not go into exile and life not flow into form.
If you ask what sentences express painful emotions in ancient poems, you may casually say a bunch of "Asking the king can have a few sorrows, just like a river of spring water flowing eastward", "only afraid of the Shuangxi sampan boat, can not carry many sorrows", "when you feel the flowers splash tears, hate other birds are frightened"... It seems that pain is always associated with the words sorrow, hurt, hate, resentment, and sorrow. The author wants to say that the real pain, you may not be able to see the tears; the real resentment, not necessarily the teeth; the real love, not necessarily within three feet of you. And the ancient Chinese poetry expresses the deepest and most intense poems, both the most painful poems, the author believes that Tang Li Shangyin's "Jinse", you must not have guessed:
Jinser unprovoked fifty strings, one string and one pillar Sihua Nian.
Zhuang Sheng Xiao dreamed of butterflies, and wangdi chunxin trusted the cuckoo.
There are tears in the pearls of the sea and the moon, and the blue field jade is warm and the sun is smoke.
This can be a memory, but it was already confused at the time.
The poem is neat and ornate, and seems to be far removed from pain. Its meaning is a variety of opinions, almost the most controversial poem in history. Liu Shu and Hu Yinglin said that "Jinse" was the name of Qingyi, Yang Shihong, Gu Xuan, and Hu Zhenheng were the works of boudoir, Zhu Yizun and He Zhuo called mourning poems, and Wu Rulun and Cen Zhongmian were even more outrageous, saying that they were works that hurt the rise and fall of the country. Going around, Ji Yun, Wu Qiao, and Huang Shucan's reminiscences are somewhat reliable, but they are not all right, Ji Yun: "Gai began to be happy, and there was hatred in the middle, so he remembered it and did it." Wu Qiao: "Yishan reminisces about the past and complains about Jinse, the same is true." Huang Shucan's "Notes on Tang Poems": "This Yishan mountain climbed fifty years ago, and traced back to the works of his life." ”
Mawangdui Xin's tomb unearthed twenty-five strings from the Western Han Dynasty
Around "gratuitous" and "fifty strings", there are a variety of interpretations, and the author emphasizes that most of them are wrong. Fifty strings is a sigh of nearly fifty years, the prefix is unprovoked, but it is a lament that time has passed, and life will be exhausted, so why is fifty strings defined as nearly fifty years old? In fact, the subsequent "one string and one pillar Sihua Nian" directly commented, which is simple and obvious evidence, and it is clear that a string represents a Hua nian. The reason why many reviews are wrong, the fundamental reason is to ignore the age of creation of the work, "Jinse" was written in 848, that is, the year of the author's death, the author had a premonition that his fate would soon be imminent, full of attachment to the beauty of all things in the world, the deeper this attachment, the heavier the pain, so "Jinser" is a painful desperate poem, is the most painful poem in history.
Zhuang Zhou Meng butterfly allusion, according to the "Zhuangzi Qi Wu Theory" "The former Zhuang Zhou Dream for Hu Butterfly, vivid butterfly also, self-metaphorical Zhi Zhi and, do not know Zhou Ye." If you are aware, then you will be aware of it. I don't know if Zhou's dream is Hu Diehe, and Hu Die's dream is Zhou He? Zhou and Hu Di, then there will be a difference. This is called materialization. "The "History of the King of Shu Benji" records that the ancient Shu Emperor Du Yu called the emperor Wangdi, and after his death, he turned into a cuckoo bird. These two sentences have a common central idea, almost a philosophical ultimate question, that is, where will people aspire after death? Is it materialization or something else? Does the soul really have its place? The other explanations you see are literal and unbelievable.
Fan Zeng's "Zhuang Zhou Mengdi Tu", this theme is used by many painters
The two sentences of Canghai and Lantian are not necessarily a certain type of event in Bixing, but extract several types of beautiful things from the sensory world, which are used to summarize the magnificence of the world - the sea, the bright moon, such as the beads of tears, the blue jade, and the warm sun, which describe the beauty of harmonious things in the world, and aesthetics tells us that "harmony is the basic feature of all beautiful things." At the same time, it is precisely because of the existence of man, according to the author's view, that man is beautiful in the past, and beauty is the endowed by man's concept. The sea is relative to the bright moon, they do not know each other's beauty, sapphire is relatively warm, they do not know each other's beauty. The aesthetic object is actually the aesthetic subject itself, Nietzsche said: "Man reflects himself in things, and he recognizes all things that reflect his image as beautiful." In Zhu Guangqian's words, this is called empathy, "'empathy' is to move one's emotions to external objects, as if feeling that foreign objects have the same emotions." "The sad thing is that the dead are no longer powerful, no longer have thoughts, no longer have the will, no longer know beauty, these two sentences reflect the author's endless affection and nostalgia for beautiful things.
At this point, the author also thinks of Nietzsche's art of the sun god, the sun comes out, illuminates the earth, let you discover and perceive the good, and before that, you can not perceive, which shows that the sun god has coated the world with a layer of gold, a layer of illusion, and by extension, Nietzsche said: "In order to survive, man needs a magnificent illusion, covering its own true face with a veil of beauty." This is the true artistic purpose of the Sun God. The innumerable illusions of the appearance of beauty, which we collectively call the name of the sun god, make life generally worth mixing in every moment, and push people to experience each moment. "The tears of the fish, like smoke and jade, are more or less like the interpretation of Nietzsche's art of the sun god, the beauty of the real world, in a kind of illusion, and when life is on the verge of destruction, this illusion becomes more and more obvious, until you doubt that life is like a dream, life is like a fantasy.
In the last two sentences, this scene is only for remembrance, "I want to go out with ruofu yellow dogs to go out to Cai Dongmen to chase the cunning rabbits, how can I get it?" ("History of Lislie") "Just at that time, I was already confused", and I was falling into the rivers and lakes at that time, abandoning the beauty of life, how can life start again?!
We see that "Jinse" is an apocalyptic sigh of death and good words, hiding deep pain, poetic pain.
The greatest composer of painful poetry in Chinese history is Zhuangzi, Zhuangzi Zhile: "Zhuangzi's wife died, Huizi hung him, and Zhuangzi sang in a drum bowl." Zhuangzi died of his wife, and Keiko went to mourn, only to see Zhuangzi sitting there like a dustpan, banging on the tile basin and humming a popular song. It shows that poetic pain is an attitude towards life, an optimistic outlook on life and death, and what Nietzsche called an aesthetic outlook on life. When Zhuangzi was dying, "the disciple wanted to bury him thickly, and Zhuangzi said: 'I take heaven and earth as a coffin, the sun and the moon as a continuous bibi, the stars as pearls, and all things as gifts.' Am I not prepared for evil? Why add this'? "I take heaven and earth as coffins, the sun and moon as jade, the stars as jewels, and all things send me a funeral, who says I don't have burial utensils?" In fact, the "great master" who deserves to forget himself forgets his pain, but also forgets his life, forgets his death, and forgets his skeleton.
In the author's opinion, when the emperor created man, he loaded human desire into a balloon with a broken line, and in order to obtain it, human beings used their hands and feet to chase it desperately, sometimes the hand just touched, and then passed away; sometimes it was firmly grasped in the hand, and the new balloon took off again. Schopenhauer said, "Fundamentally, man is nothing more than a mass of desires and needs to be freed from life. And "the root of all human desires lies in need and lack, that is, in suffering." So, "all life is inherently painful." (Schopenhauer, "On Pain and the Torment of the Will") "Pain is an evil emotion, an evil experience, why don't human beings like it?" Why hate it? Why can't you stand it? Nietzsche said, "Man is not unable to tolerate suffering, but rather the meaninglessness of suffering." ”
In the dialectics of materialism there is a law of the unity of contradictions, and Chairman Mao said: "The combination of conditional relative unity and unconditional absolute struggle constitutes the contradictory movement of all things." (Selected Works of Mao Zedong, Vol. 1) "In the author's opinion, human suffering arises because of the inability to do anything about unity when there are contradictions and confrontations between the guest and the self. In "The Golden Age," the military deputies did not succeed in flirting with Chen Qingyang, but instead they were slapped in the face, which is that contradictions tend to be unified and fail, and the opposite is toward opposites. He opposes Wang Er everywhere, and we can clearly see the inner pain of this small character and small person, so it is not difficult to find that some people are arrogant and self-satisfied on the surface, and their hearts are humble and painful. On the night of his twenty-first birthday, Wang Er led Chen Qingyang up the mountain, and he said, "Can you please lie down a little bit?" I'm going to study your structure in terms of light. Just listen to a loud pop, like a thunder in the ear, and she gives me a big slap. I jumped up, took my clothes, pulled my legs and left. "I didn't leave that night. Chen Qingyang dragged me and told me to stay in the name of great friendship. She admitted that it was wrong to hit me and that she didn't treat me well, but she said that my great friendship was fake, and that I tricked her out just to study her structure. (Chapter 3) "The same slap, the same pain, this paragraph is the contradiction from opposites to unity."
The Exuberance of Pain: Shock from Humanity: The United States, Ohio· Zion
Adam and Eve, the first ancestors of mankind, were born guilty because they stole the forbidden fruit in the Garden of Eden, which is called original sin. At the same time, when God created man, he did not forget to pour a body of desire and need on mankind, and as long as desire and need are needed, suffering must follow. Qin Emperor Han Wu, knowing that life must die is the logic of the universe, but to find the immortal medicine, the result is to fulfill the iron law of the universe without hesitation, this innate pain, the original complex in the depths of human beings, the author tailored a proper noun to it - original pain. Primary pain is inherent in the human spirit, because people have the ability to judge and speculate, so they can often be perceived in advance. Whether a terminal illness will come to one's head and whether there will be a miraculous cure is the original pain; it is the original pain to be unable to sit on two golden chairs at the same time; the fate of birth and death and destruction is the deepest primary pain in the human spiritual realm.
Just like facing three meals a day, driving must face traffic lights, and everyone must face pain. Although human beings can foresee the coming of suffering, they can never know when, where, and how much suffering they will endure in their lifetime, because suffering is neither distributed according to work, nor according to virtue, nor according to age, but most of the time you have to bear the meaninglessness of suffering. In the face of the torture of suffering, which is imposed on mankind without judgment, C.S. Louis's The Mystery of Pain instructs us to learn to look upwards—to the Lord of the universe, to look inward—to see ourselves. Looking at the vast world, swinging around, holding the hand of God, and following the broad road of the universe with a clear heart, suddenly cheerful, calm and relaxed, happy is not happy, bitter is not bitter, life is perfected, so it is perfected.
Author of The Mystery of Pain, British writer C.S. Louis
"Ah Q Zheng Biography • Chapter 9 • Reunion" Ah Q paraded the streets in front of the execution ground to show the public, "Ah Q was suddenly ashamed that he had no ambition: he did not sing a few words. His thoughts swirled around in his head like a whirlwind, "The Little Widow on the Grave" was not grand, and "Regret should not be... It's also too lacking, or 'holding a steel whip to beat you up'. At the same time, he wanted to raise his hands, only to remember that both hands were originally tied, so the 'steel whip in his hand' stopped singing. No matter which play or which piece of drama, the author aims to portray the evil of society and the sadness of the little people at the bottom of society, rather than showing the generosity of his dead soldiers, the author cannot let him sing, even "After twenty years, it is another ..." We see that the bondage here reveals a kind of pain like a lamb to be slaughtered.
The kidnapped images of The Golden Age are humorous, lighthearted and poetic. Chapter 1. Chapter 6, "Chen Qingyang stood up, straightened his hair, folded up the collar of his shirt, and then turned his back to his hands." The sister-in-law tied her up, first tying her hands tightly, and then fastening the rope around her neck and arms. "It's a ritual to get your hair straightened and your collar folded. 2. Chapter 7, "I was in the people's insurance group, Luo Xiaosi came to see me, and when I looked out of the window, I was tied up like a rice dumpling." "The metaphor of the image, close to life is full of fun. 3. Chapter Nine, "The rope was tied to her like a tights." At this time, the curves of her body were exposed. At that moment she felt like a gift box, unpacking. So she was overjoyed..." These two articles have been quoted earlier.
We propose poetic pain, poetic pain, but to find a cool mint for the lonely space of mankind, not limited to a literary expression and life posture, but its meaning is more like Nietzsche's statement: "Only as an aesthetic phenomenon can life and the world appear to have sufficient reason." This is the artistic outlook on life, the aesthetic outlook on life, or the artistry of life, and in the author's opinion, it is completely possible to "evolve" into the artistic treatment of pain and the artistic treatment of pain, both poetic pain. As Zhu Guangqian's "Tanmei XV" said: "Life is originally a broader art, and everyone's life history is his own work." And "art is a fun activity, and the life of art is also a life rich in fun." "We see that Wang and Chen bear pressure and pain from all sides, but use a poetic vision and artistic perspective to describe their bound images, like rice dumplings, like tights, like gift boxes, and the poetic beauty of "Golden Age" can be seen from this."
Elder Zhu was momentarily brainbroken, and he said: "If there is only one person in the world, he cannot have moral activities, because there is a father and a son who can have kindness and filial piety, and there is a friend who has faith to speak of." But this imaginary solitary man can also have artistic activities, he can also appreciate the world in which he lives, and he can also create works. ("On Beauty, Fifteen") "If there is only one person in the world, there can be no morality, no filial piety, no faith, no politeness, no shame, but artistic activities must exist."
"Facing the sea, spring is warm and blossoming", life cannot be without poetry!
(The ownership of the text belongs to 360 Wu Li Road)