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About author:Yang Guitang, graduated from the Department of Chinese of Nanjing Normal University, is currently an employee of a subsidiary of Sinopec.
author
Yang Guitang
At the beginning of the last century, Wu Mi began to use Western literary criticism theory to analyze and study "Dream of the Red Chamber", and found a lecture at Harvard University in 1919, and in 1920, he compiled and published "New Talk on the Dream of the Red Chamber", which began by saying:
"Stone Record" (commonly known as "Dream of the Red Chamber") is the first masterpiece of Chinese novels. Its depth of entry, the refinement of its conception, and the cleverness of its writing, that is, it is rare in the novels of the Western Kingdom. Western novels, the best are solid and hundreds, each has its own strengths, but like the breadth and precision of "Stone Record", there are very few people who have both beauty. Of the British novels, only W.M. Thackeray's The Newcomes is the closest (British novelist Thackeray's novel The Newcombes – citation note). Ziwu read Western novels, and Yizhong "Stone Record". If you take the "Stone Record" of Western literature, it is in tune with each other everywhere, and it still feels good. Cover the article art of the advantages and disadvantages of the short and long, this is only a rational, the Chinese and Western are no different. Careful examination, when you know it.
Subsequently, Wu Mi tried to apply the novel theory of a Harvard teacher (Dr. G.H. Maynadier), from Serious purpose, Large scope, Firm plot, Plenty of action, Reality of scenes, and Liveliness of characters. Six aspects of analysis and argumentation, that "Dream of the Red Chamber" "actual and this six long", can be called the "masterpiece of the novel" under western standards. ("New Talk on the Dream of the Red Chamber- A Collection of Treatises on Wu Mi Hong")
It should be pointed out in particular that in modern times, with the development of the Western economy and the expansion of the outside world, Western novels have gone strongly to the world along with Western culture.
Western modern novels are novels based on modern Western societies since the end of the nineteenth century, guided by modern trends of thought. "Dream of the Red Chamber" has neither such a social background nor such ideological guidance, nor does it go to the world as strongly as Western literary works.
Here, only from the narrative technique, the "Dream of the Red Chamber" is roughly compared with western modern and modern novels, and the narrative innovation of "Dream of the Red Chamber" is preliminarily discussed.
The modern approach referred to only refers to techniques that are similar to those of the Modern Western Novel.
Application of pre-narrative techniques
"Dream of the Red Chamber" clearly distinguishes between story and narrative.
The narrative begins in the middle of the story, concentrating the plot over a shorter period of time. Among them, the eighteenth and fifty-third times are concentrated in one year; mainly in the main narrative, focusing on the main characters, along the main clues, according to the chronological sequence of events.
On the way, either use characters, or use dreams, or the narrator directly comes forward to make up for the past and predict the future.
If Aristotle introduces the concept of "head", "body" and "tail", since the completion of the seventeenth Grand View Garden, the twenty-third time Baoyu and Zhu Chao moved into the Grand View Garden, the first twenty or so times, when it is the "first"; the activities in the Grand View Garden should be "body"; the seventy-fourth time to copy the Grand View Garden, to the seventy-eighth time, Bao Yu Qingwen, and then the narrative process gradually reaches the "tail" part.
If you count from the seventeenth time to the eighty times, there are about sixty episodes that occur in the Grand View Garden. This way of structure is undoubtedly both economical and centralized.
The pre-narrative is adopted in the first episode of the novel. Zhen Shiyin appeared on a hot summer day, and then fell asleep and saw a monk together:
The Daoist said, "Wouldn't it be a merit for you and me to take advantage of this and go to the next life to spend a few years?" The monk said, "Just as I want, you will go with me to the Palace of the Illusion Fairy, and clearly hand over the stupid things, and when this evil ghost is finished in the next life, you and I will go again." Although half of it has fallen into the dust now, it is still not complete. ”
Half of the evil ghosts have fallen into the dust and are not yet fully collected. Here is the lipogram cloud:
If you write one by one from the beginning, what is the text? This is where the Book of Stones excels.
At this time, Xiangling (Yinglian) was three years old, and the "stone" was about to enter the red dust with the birth of Baoyu. After waking up from the dream, Zhen Shiyin came to the street, coinciding with the two monks, and immediately recounted the unfortunate encounter and the final fate of Xiangling (Yinglian) who was about to be abducted.
In the second time, through the dialogue between Leng Zixing and Jia Yucun's rural liquor store, the history and main characters of Ning Rong's second house were supplemented, highlighting the strange phenomena and obedient disposition of Baoyu and Jade, and pointing out Daiyu's life.
And the third time, "and it is said that Dai Yu abandoned the boat and landed on that day" there was a fat batch under it:
This side is the beginning of the main text. After that, the pen and ink are different from the previous two times.
In the first two times, there is an explanation of the purpose of the novel's origin and the meaning of introducing the characters in the book, so the narration is more than the description; and starting from Daiyu's entry into jia fu, the use of character perspectives to show plot details, the work pen describes the weather, character activities, and psychological feelings of jia fu, and takes off the taste of the storyteller and turns to the description display.
In the fourth time, Baoyu, Daiyu, and Baochao were included in the Rongguo Mansion.
The fifth time, that is, to open up the face, set up a new field, let Baoyu sleepwalk in the illusory realm, and pre-narrate the characters, images, personalities, and fates of the Twelve Chaos of Jinling, which has become the general program of plot development.
On the twenty-third occasion, after moving into the Grand View Garden, Bao Yu made four poems, once again using the pre-narrative technique. The book says:
He once had several poems about the occasion, although not good, but they were really true.
For example, there is a sentence in the winter night:
The window is open to the moon and the palace mirror, and the room mist sandalwood cloud tastes imperial incense.
These were all things that happened later in Yihong Courtyard and Daiyun Xuan.
Moved into the Grand View Garden, on February 22. After the pre-narrative, next, Bao Dai read the plots such as the West Chamber, which was still in the spring of that year. The narrative process is not interrupted by pre-narratives.
Pre-narrative is rare in Western classical novels, and the novel that people are familiar with using the pre-narrative method is Marquez's "One Hundred Years of Solitude". The novel begins like this:
Many years later, facing the firing squad, Colonel Aureliano Buendia will remember that distant afternoon when his father took him to explore the ice.
The pre-narrative reflects the novelist's attempt to break the classic narrative pattern in terms of narrative time.
Known as a masterpiece of magic realist literature, "One Hundred Years of Solitude" is one of the important classic literary masterpieces of the 20th century, incorporating myths and legends, folk tales, religious allusions and other mysterious elements, skillfully blending reality and illusion, showing a magnificent imaginary world.
——None of these comments are improper when used in "Dream of the Red Chamber".
The pre-narrative in "Dream of the Red Chamber" is a narrative innovation that transcends time and space, dominates our reading process, affects our reading experience, allows us to remember the origin and destination of the characters, and always walks into the hearts of the characters and feels their heart rhythm beating.
When we see Dai Yu crying, we will definitely recall the dialogue between the monks in the first time, and remember the vows of the past life with tears. When we see Baoyu, who is happy to gather and does not like to disperse, once and again because of the words and deeds of parting, he is stimulated and his heart is silent, we will definitely think of his final destination of the cliff retreat...
Repetitive narrative techniques
Repetitive narration, i.e. several recounting of events that occurred once, is also known as the witness providing evidence. This narrative technique has been successfully applied and respected in modern novels and film and television art, such as Márquez's novel "A Murder Case Publicized Beforehand" and Akira Kurosawa's film "Rashomon".
In "Dream of the Red Chamber", this technique has been applied, received good artistic effects, and deepened the ideological expression of the novel.
Broadly speaking, the unity of poetry and transmission, that is, the narration of the same event through two means of prose narrative and poetry chronicle, is a narrative literary tradition that began in the Tang Dynasty and can also be regarded as a repetitive narrative. This has also been presented many times in "Dream of the Red Chamber".
There is also a way to tell the story of an event that has only happened once through different characters, which is a repetitive narrative typical of the modern West. The death of Jin Jun'er has been mentioned repeatedly, narrated many times, and multiple versions have appeared, which is a typical repetitive narrative and used naturally.
On the thirty-second occasion, in the Grand View Garden, Bao Chao and the raiders were talking, when suddenly a mother-in-law reported the death of Jin Jun'er:
Without a word, I suddenly saw an old woman rushing up and said, "Where is this to start!" The girl Jin Jun'er threw herself into the well and died! The attacker was startled and asked, "Which Jin Jun'er?" The old woman said, "Where are there two more Jin Jun'er?" It's in the wife's house. Before, I didn't know why I threw her out, and I cried at home, and I ignored her, who knew that she was missing. The person who had just fetched water was collecting water in the well in the southeast corner, and when he saw a corpse, he hurried to ask someone to salvage it, who knew that it was her. Their family is still just messing around to save their lives, where to use it! Bao Chao said, "This is also strange." When the raider heard about it, he nodded his head in admiration, thinking of the same feelings of su ri, and he did not feel that he shed tears. When Bao Chao heard this, he rushed to Madame Wang to comfort her.
This is the first time that the death of Jin Jun'er is explicitly written, and it is told by a servant. The way to die is to commit suicide by throwing yourself into a well, and the reason for death is to be thrown out by the master and ashamed to gamble. In the narration, the identity of Jin Jun'er was specially introduced - there were some decent big men in Madame Wang's room, often called "girls".
The people who learned of Jin Jun'er's death were Bao Chao and the attackers. There are also mentions of Jin Jun'er being picked up, one is that the reason is unknown, and the other is that she cried after being taken home.
The old woman was surprised and lamented, and the attacker sympathized with the mourning, and Baochao reacted cautiously, only calling it "strange".
In order to comfort Lady Wang, Baochao speculated about another version of Jin Jun'er's death: accidental death. Madame Wang and Xue Baochao tempted each other and hid from each other. The dialogue between the two is purely the identity of the master and the adult discourse, leaving aside the responsibility and handling the aftermath from a generous and lenient manner, the truth of the facts, the right and wrong, and the irrelevant, but the attitude and behavior of the two in handling the aftermath are not lacking in goodwill and tolerance.
The third version of Jin Jun'er's death is narrated from Jia Huan's mouth. The cause of death was Bao Yu's attempted rape, Jin Jun'er was beaten, gambled and jumped into the well to commit suicide, and the death was extremely ugly - Jia Huan's intentions were clearly revealed:
"Fang Cai didn't run, only because once I passed over there, a man drowned in the well, and I saw that the head of the person was so big, the body was so thick, and the bubble was really terrible... My mother told me that Brother Bao Yu had been raped and beaten up the day before in his wife's house by pulling his wife's handmaiden Jin Jun'er. That Jin Jun'er gambled and died. ”
The death of Jin Jun'er, which has been mentioned many times, will not be repeated here.
The successful application of repetitive narrative makes us obviously feel that there is a voice guiding us, prompting us to pay attention to the events that occur and the events in the eyes of the characters, so that we have a clearer understanding of the characters and have a deeper thinking about the events.
Rong Guofu is a big world, and the characters operate in an orderly manner at all levels, jointly promoting the changes in the world. Everyone sees things from their own perspective and acts according to their own logic. Only the writer sees things with the eyes of God and with the compassion of mercy.
A living life, like a flower, has not yet fully bloomed, that is, it has withered mud. Everyone went into the play, and the writer responded with tolerance.
Use of character perspective
The twenty-sixth time a paragraph writes that after dinner one day, Dai Yu went to visit Yihong Courtyard, and the text wrote:
(Daiyu) saw Baochao enter Baoyu's courtyard, and he himself followed.
This sentence, rough looks a little awkward, what "Baoyu's courtyard", straight to say "Yihong Courtyard" is not convenient?
On closer reading, what stands out is the perspective of the characters, and there is a perspective shift - the perspective is transferred from the narrator to the characters, directly adopting Daiyu's perception. In Daiyu's eyes, in Daiyu's heart, Yihong Courtyard is Baoyu's courtyard, so it is necessary to use "Baoyu's courtyard".
See the original text:
But he said that Lin Daiyu heard Jia Zheng call Bao Yu to go, and did not come back for a day, and his heart was also worried about him. After dinner, I heard that Baoyu had come, and I wanted to ask him how it was. One step walk to come...
Until this point, it has been the narrator's perspective adopted. The narrator and the perceiver are unified. Dai Yu is the focus of the object, including her inner activities, observed and narrated by the narrator.
Next, the perspective changes:
Seeing that Bao Chao had entered Bao Yu's courtyard, he himself followed. Just arrived at Qinfang Bridge, only to see all kinds of waterfowl bathing in the pool, but also can not recognize the famous color. But I saw one by one the literary color showing off, looking very good, so I stood and looked at it for a while.
Who sees the "see" at this time? Obviously Daiyu. "Seeing Bao Chao go into Bao Yu's courtyard", it is also Daiyu's perception. The narrator deliberately emphasizes that "he himself came and went". When I arrived at Qinfang Bridge, I "only saw" the clouds, which were still what Dai Yu saw. Here, the narrator and the perceiver are separated.
After "seeing BaoChao enter Baoyu's courtyard", Li Yanzhai commented:
The best thing about the Book of Stones is this kind of chapter.
It shows that Li Yanzhai felt the change and praised "such chapters", but did not explicitly propose a change of perspective.
Stylist Roger Fowler used the term "mind style" to describe the characteristics of speech use that represent individual thoughts and value systems. The style of thinking stems from the narrator's use of language to imitate the character's self in a certain implicit way of thinking.
Here, it is the narrator who borrows Daiyu's perspective, imitates Daiyu's thinking, and highlights Daiyu's consciousness.
Modern Western literary and art criticism attaches great importance to the perspective of the novel, and even improves the status of defining the theme.
The founders of modern theory of the novel, Gustave Flaubert and Henri James, saw the novel as a self-contained artistic organism and turned their attention to the technique of fiction, especially the use of point of view.
In The Technique of fiction (1921), James's follower Lubbock argues that the novel's complex methods of expression boil down to a matter of viewpoint. In Mark Schauer's Technique as a Discovery (1948), perspective leaps to the status of defining the subject. (See Shen Dan, Western Narratology: Classics and Post-Classics))
In "Dream of the Red Chamber", the application of perspective has been placed in an important position, both the external perspective and external focus of the story, as well as the perspective and internal focus of the story, and the perspective frequently switches between the inside and outside of the story and between the characters, which has received a dramatic display effect, making the novel move forward naturally like a stream.
Among them, it is particularly worth mentioning that the novel shows the story space (such as the third time, Lin Daiyu enters the Jia Mansion), lays out the grand scenes (such as the fifty-third time, Xue Baoqin observes the Jia Fu Chinese New Year's Eve the ancestral shrine), realizes defamiliarization (such as the forty-first time, Liu Grandma is drunk and mistakenly enters the Yihong Courtyard), creates a play-in-play (such as the thirty-sixth time, borrowing the perspective of the character, twice in one time), turns to the drama display (such as the third time, Bao Dai's first meeting), and writes all the unmerciful feelings (such as the forty-fourth time, Baoyu cuts makeup for Ping'er).
The diversified application of the character perspective makes the narrative vivid and lively, and the reading process is full of surprises.
Free indirect quotes
In "Dream of the Red Chamber", there are many quotations from the characters, and the direct quotations are the most, that is, there are guiding sentences, and the "original words" of the characters are used. Because there is no modern punctuation, there are no quotation marks in direct quotations, and the frequent appearance of guiding sentences is even more eye-catching: speaking, laughing, and saying; listening to the Tao, hearing the Tao, listening to the Tao... This leads to the words of the characters.
The magic is that the quotation not only has the function of the speaker to express his opinion and attitude, but also has the function of narrative and description.
Just to give an example, the ninth time, Bao Yu wanted to go to school, and before leaving, he asked his father for peace, and Jia Zheng made his first official appearance:
On this day, Jia Zheng returned home early and was gossiping with the Xianggong Qing guests in the study. Suddenly seeing Baoyu come in to invite Ann and go back to school, Jia Zheng sneered: "If you mention the word 'going to school' again, even I will be ashamed to death." According to my words, it is righteous that you are stubborn. Stand carefully dirty on my ground, lean against my door! ”
In the previous sentence, Bao Yu was tired of learning. Last sentence:
Draw the image of Baoyu bowing down against the wall.
Mongolian double line sandwich batch
Of course, there are also indirect quotations, where the narrator or character in the story relays the words of another character.
For example, the twenty-eighth time, Bao Chao's psychological monologue:
Baochao was always far away from Baoyu because her mother had mentioned to Lady Wang in the past that "the golden lock was given by a monk, and only those who had jade in the future could be married".
There are also free direct quotes, i.e. no introductory sentences, no punctuation in codices and early prints, and only quotation marks in modern versions.
For example, on the seventy-second occasion, when the people entered the table, ordered a play, the dishes had been offered four times, and the soup began to be presented together, and after the rewards were given to each family, they changed their clothes and returned to the garden, and offered another good tea. At this time, Princess Nan'an asked Baoyu, and then asked the sisters:
Jia Mu smiled and said, "Their sisters are sick, weak and weak, and they see people being shy, so they asked them to show me the house." Some of them were small dramas, and a class was passed on to the other side of the hall, accompanying her aunt's sisters to watch the drama. Princess Nan'an smiled and said, "Even so, ask someone to come." Jia Mu turned back and ordered Sister Feng to bring Shi, Xue, and Lin, "Then just ask your three sisters to accompany you." ”
Another form of quotation, which slides from indirect quotations into direct quotations. For example, the seventh time, Jiao Da drunkenly scolded a paragraph:
That Jiao Da and Jia Zhen are not at home, even if it is not good at home, it can be sprinkled at will. Because he took advantage of the wine to be happy, he first scolded the grand manager Lai Er, saying that he was unfair, bullying the soft and afraid of hard, "When there is a good errand, send someone else, like this black more in the middle of the night to send people, send me." The Eight Lambs of the King who have no conscience! Blind butler! You don't want to think about it, Grandpa Jiao is stilted, higher than your head. In the twenty years of The Great Master Jiao, who is in his eyes? Don't talk about you bastard king eight lambs! ”
First, he scolded the grand master Lai Er, saying that he was unfair and that he was afraid of the soft and afraid of the hard. This is a narrative sentence, there is a guiding sentence, indirectly quoting Jiao Da's words, sliding into the direct quote, leading to Jiao Da's original words. The voice of the discourse changed from weak to strong, expressing jiao's resentment and indomitable intention.
There is also a more insidious form of quotation, with no introductory sentences, no quotation marks, and direct connection to narrative statements. However, the main body of the speech is obviously not the narrator, but the characters in the novel, and the characteristics of the discourse coincide with the personality of the characters, which is a free indirect quotation.
It appears occasionally in the narrative of the Red Chamber, and there are also comments in the fat batch. For example, the third time, Bao Dai first saw:
Bao Yu had already seen one more sister, and he expected that it must be the daughter of Aunt Lin, and he was busy doing it. When you see it, when you sit, look closely at the description, and distinguish yourself from the crowd:
Two bends seem to be crouching non-crouching eyebrows, and a pair of eyes seem to be crying instead of crying. The state of two sorrows, the illness of the body. Tears lit up, and the panting was slight. When idle, it is like a flower shining on the water; the place of action is like a weak willow supporting the wind. The heart is more than dry, and the disease is like Xizi winning three points.
"The action is like a weak willow wind" after which there is a fat batch:
So far, the eight sentences are in Baoyu's eyes.
After "the heart is more than dry", there is a fat batch:
This sentence is in Baoyu's heart.
There is no doubt that this sentence is a free indirect quotation, but it is hidden in the endowment praise.
For example, in the fifteenth time, Jia Baoyu met with the King of Northern Jing, and the perspective switched between the two, and the free indirect quotation and the direct quotation appeared successively:
It is said that Bao Yu looked up and saw that Wang Shuirong of Beijing County was wearing a white silver-winged king hat on his head, wearing a white python robe with five claws of Jiangya Seawater, wearing a jasper red band, his face was like beautiful jade, his eyes were like stars, and he was really beautiful. Bao Yu rushed up to see it, and the water soluble hurriedly reached out from inside the car to hold it. SeeIng Baoyu wearing a silver crown with a bunch of hair, a double dragon going out to sea to wipe his forehead, wearing a white python arrow sleeve, wrapped around a silver belt with beads, his face was like a spring flower, and his eyes were like paint. Shui Rong smiled and said, "The name is worthy of the name, and it is indeed like 'treasure' like 'jade'." ”
Among them, the sentence "Really beautiful and beautiful character" is a sigh issued by Baoyu's heart, which is a free indirect quotation. Moving to the side of the King of Northern Jing, the form of a direct quotation is adopted:
"The name is true, and it is indeed like 'treasure' like 'jade'."
The difference between the two is very significant, and the rhetorical effect is particularly prominent. The direct quote of the King of Northern Jing has a strong acoustic effect: he is his venerable, high-ranking and powerful, so the laughter is cheerful and the tone is sonorous. Baoyu's side, still young, unemployed and insignificant, has a faint voice, which corresponds to the sentence in "Zhou Yi":
See the dragon in the field, see the lord.
"Zhou Yi Qiangua Nine Two"
Free indirect quotations are quotations, but because they are not relayed by the narrator, they get rid of the intervention of the narrator, and they can retain more of the emotional and personality characteristics of the characters, which is the deep meaning of "freedom". Free indirect quotations can be arbitrarily connected with narrative sentences, without being frequently interrupted by guided sentences, and can reflect the directness and vividness of the characters' words.
Free indirect quotation is an extremely common and important form of quotation in Western novels since the nineteenth century. Modern And contemporary Western novelists, such as Flaubert, Jane Austen, Conrad, James Joyce, etc., have tried many forms of quotation. In particular, the repeated use of free indirect quotations enhances artistic effects and promotes novel innovation. Mainland modern and contemporary novelists also have many references.
Foreground approach
Modern Western stylists have proposed the concept of foreground, in stylistic analysis, referring to a technique that highlights something valuable from the background.
Language can be seen as a set of rules that must be followed, and the language system that people unanimously accept constitutes the background. And "prominence" is a violation of such a set of rules, a deviation for artistic purposes.
- It's very winding to say, but it's actually not so mysterious. The most common method of advertising in modern life is foreground. By deviating from the conventional means, the need to emphasize is highlighted, which is impressive and falls in love at first sight.
Among them, the foreground of the language class is to deviate from the conventional language system, highlight the need to highlight from the background, resulting in an abrupt presentation, and achieve the effect of "language is not surprising and endless".
Cao Xueqin is a master of language and a master of literature, and this technique is simply handy.
For example, the sixty-sixth time, writing about the death of You Sanjie, that is, through the use of poetic language, the death scene is virtualized, and the sword drawing of You Sanjie's sword is placed in front of the action of self-execution, so as to achieve dynamic sensibility and beautification, so that readers are amazed and sighed, and it is difficult to let go:
That third sister... As soon as he heard that Jia Lian was going to go out with him, he quickly took off his sword, hid a female blade in his elbow, and came out and said, "You don't have to go out to discuss it again, and pay back your gift." With tears pouring down his face, he sent the sword and sheath to Xianglian with his left hand, and his right hand elbowed back to the neck only one horizontally, pitifully:
The crushed peach blossoms were all over the ground, and the jade mountain was poured down and it was difficult to help.
Fang Linghui sex, vague and dark, I don't know where it went.
In contrast, in the sequel, dai Yu's death, although it also received two couplets, was obsessed with the natural process of death, there was no linguistic deviation, and the verse became a weak exclamation, and did not receive a foreground effect.
TanChun came over and touched Daiyu's hand, it was already cold, and even his eyes were scattered. TanChun and Zi Juan were crying and asking someone to bring water to scrub Daiyu, and Li Feng hurried in. The three of them met and didn't have time to speak. Just rubbing, I heard Dai Yu shouting in a straight voice, "Bao Yu, Bao Yu! Hello..." When he said the word "good," he broke out in a cold sweat and stopped making a sound. The purple crane and others hurriedly held on, and the sweat grew out, and the body gradually became cold. Tan Chun and Li Yi told people to dress up in a chaotic manner, only to see Dai Yu roll her eyes and whimper!
A wisp of incense dissipated with the wind, and the sorrow was even more into the dream.
After that, don't forget to confess:
At that time, Dai Yu was desperate, and it was the time when Bao Yu married Bao Chao.
The juxtaposition of tragedy and joy seems to enhance the tragic effect, but in fact it falls into the hollow distortion that Cao Xueqin has repeatedly criticized.
In the first eighty times of "Dream of the Red Chamber", another foreground language was also used, through the creation of vocabulary, giving new meaning and realizing foreground.
The fifth time, Jia Baoyu sleepwalked too illusory, and the police illusion solemnly proposed:
"The one I love is the first adulterer in the world, ancient and modern."
Here are the fat batches:
How bold to write such a text!
Obviously, I felt the shocking artistic effect of this text:
Bao Yu listened, and replied, "Xian Gu is wrong!" Because I am lazy to read, my parents are still reprimanding me, how dare I take the word 'obscene' again? Moreover, he is still young and does not know what the word 'obscene' is. The policeman said, "Non-also." Although sexual immorality is one thing, the meaning is different. Such a good adulterer in the world, but pleasing to the face, like singing and dancing, laughing tirelessly, clouds and rain all the time, hate can not do the beauty of the world, for my time to have fun, these are all skin obscene stupid ears! Ru'er generates an obsession in his talents, which my generation pushes as 'obscenity'. The word 'obscenity' can only be passed on by the heart, but can be magical but not spoken. Ru Jin has only these two words, in the boudoir, he can be a good friend, but in the world, it is inevitable that he will be strange and strange, a hundred mouths will be ridiculed, and his eyes will be wide-eyed. ...... However, it is still so that Ru can appreciate the scenery of this fairy goddess illusion, not to mention the scene of the dust realm! In the future, wanwan will explain, change the previous situation, and put diligent and useful efforts in the economic way. ”
Lipid batch name:
"Lustful and not obscene", today's overturned, strange!
Praise "obscenity" and "two words new elegance", and explain its meaning:
According to Baoyu's lifelong mentality, it is only the word considerate, so it is called "obscenity".
Because of the linguistic deviation here, the true feelings of children stand out from the worldly love of men and women.
Ironic use
In traditional narratives, the author comes forward directly, expresses opinions, reveals the meaning, and disseminates the teachings. Modern readers are tired of this. Therefore, modern narratives pay attention to the author's retreat, and rarely speak directly. What should we do if we want to express our views and guide our readers, but we are not able to speak directly and preach our teachings?
Irony has become an alternative narrative method, an obvious narrative voice, and has been widely used in modern Western novels.
As a classical novel, "Dream of the Red Chamber" has also been directly presented by the author and made comments. However, in the specific narrative process, the author also tries to withdraw from the text and let the novel's moral appear on its own, and adopts a variety of ironic techniques, including verbal irony, situational irony and dramatic irony.
Among them, verbal irony is achieved through anti-language, contextual misalignment, juxtaposition of rebellious words, sentence patterns and content incompatibilities; situational irony, through intonational irony (telling sentimental or painful stories in a ridiculous and pretentious relaxed tone, telling absurd stories with a serious attitude, making a fuss about the narrative), viewpoint irony (using unreliable narrators), parody and irony; dramatic irony, by showing the audience (the reader's) omniscience and omnipotence with the ignorance of the people in the play, forming tension.
In the thirty-seventh time of "Dream of the Red Chamber", Tanchun sent a letter to Baoyu and proposed to establish a poetry club in daguanyuan:
Bao Yu said, "This is a serious and important matter, everyone is encouraged, don't let you be humble and let me go." Each has the idea to say it out for yourself. Sister Bao also came up with an idea, and Sister Lin also said something. ”
Here is the lipogram cloud:
This is a "serious event" is already wonderful, and it is known as "Pingzhang", even better! It was Baoyu's quarrel.
To set up a poetry club, in Baoyu's mouth, the word "Pingzhang" was used, using the typical technique of misalignment and verbal irony.
Let's take another example of parody and irony.
The sixteenth time, when Qin Zhong was about to die, the ghost judge came with a licensed Tisso, and the words of the little ghost judge, the words of the yangshou in the underworld, were mostly joke words, constituting the parody and irony in the scene irony. Qin Zhong left a last word for Baoyu:
Before, you and I saw ourselves as superior to the world, but today I realize that I am wrong. In the future, we should also aspire to make a name for ourselves, and take glory as our righteousness.
Baoyu and Qin Zhong are compatible, love righteousness, despise meritorious names, and intend to find another way and walk out of a different path from the world. But Qin Zhong was soon trapped by desire and fell into a desperate situation, not surpassing ordinary people, and there was no new way to go.
Let's talk about dramatic irony.
Forty-fourth time, on the second day of the first month of September, on Sister Feng's birthday, Jia Lian summoned the wife of the next person, Bao Er's family, to his bedroom. After the fact, Bao Er's family's dove occupied the magpie's nest and discussed with his master Jia Lian about the arrangements for his wife and concubine after Feng Jie's death:
The woman laughed and said, "Sooner or later, your wife of the King of Yama will die." Jia Lian said, "It's the same thing that she marries another one when she dies, so what?" The woman said, "She died, but you helped Ping'er straighten out, but I'm afraid it's better." Jia Lian said, "Now even Ping'er, she doesn't ask me to dip it." Ping'er is also a belly twist and does not dare to say. How could I have committed the 'Night Fork Star' in my destiny! ”
Sister Feng and Ping'er have arrived and listened to a square outside - this is again a dramatic irony, still a borrowing of traditional opera: the same stage, indoor and outdoor two spaces, outdoor to know the indoor, indoor does not know the outdoor, the reader can see the performance of two spaces at the same time.
The people who steal love, one master and one servant, are originally a dewy couple, hypocritical and false, but they are confused by the authorities, to the point where they do not distinguish between true and false, and take falsehood as true.
Mr. Wu Mi said:
Cover the article art of the advantages and disadvantages of the short and long, this is only a rational, the Chinese and Western are no different.
The creative innovation of "Dream of the Red Chamber" and the creative innovation of Western novels do have similarities and similarities. In comparative studies with Western modern novels, new tools are used based on new theories. Carefully pressing the text of "Dream of the Red Chamber", there will inevitably be new discoveries and new cognitions.
As far as the development of Chinese literature itself is concerned, it is also an indisputable fact that fiction has developed from myths, historical legends, wild histories, miscellaneous notes, legends, and scripts, reborn and matured, and grown into a literary genre that can be compared with Western modern and contemporary novels.
In the last century, There was Mr. Hu Shi who said that "Dream of the Red Chamber is worthless" and said, "We are inferior to people in everything!" In this century, another lady said that the source of literature is in the West, and Chinese literature is only "literature about the infancy of man." Is this really the case?
Don't be excited, less indignant, or do some research before speaking.
There is no shame in acknowledging the novel attributes of "Dream of the Red Chamber". It is precisely because of Cao Xueqin's creation that Chinese fiction has been elevated to the level of fiction in the modern sense, which is unique and unique, opening up the world in the history of Chinese literature and standing out in the history of world literature. As the contemporary red scholar Song Qi said:
Looking around the world literary scene and relying on an unfinished novel to win the status of a great writer, Cao Xueqin can really be said to be second to none.
Song Qi,"The Development Direction of New Red Studies", "The Dream of the Red Chamber--Collection of Treatises on Song Qi's Red Studies"
(The text quotes the text and punctuation of "Dream of the Red Chamber", all of which are used in "Cai Yijiang's New Comment on the Dream of the Red Chamber", Longmen Bookstore, July 2010, 1st edition.) Quoting the comments and punctuation of Li Yanzhai, all using Chen Qinghao's "New Compilation of Stone Records of Fat Yanzhai Comments (Revised Edition)", China Friendship Publishing Company, August 1987, 1st Edition)
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