"Dream of the Red Chamber" we can read it all the time, at different ages. Because "Dream of the Red Chamber" presents a phenomenon of life, it allows you to see the various states that these people experience, which involves the author's own rare tolerance and his sense of transcendence in his attitude towards life.
If something happens before our eyes, a friend talks about it, and when he relays it, you know who he likes, who he doesn't like, who he approves of and who he disapproves, and we call it subjectivity. In literature, there is an "omniscient point of view", that is, there is a sense of transcendence, and it does not become any role in the novel.
We have no individual love-hate, but present these people in a higher, transcendent environment. Just like the mirror, the mirror itself has no choice, no love and hate, you approach the mirror, the mirror fully presents your state, a state of complete objectivity. But it is difficult for people to be like a mirror, and this sense of omniscience transcendence is actually very difficult to grasp. Among the ancient and modern Chinese and foreign novels I have read, the most mirror-like novel is "Dream of the Red Chamber".
Lin Daiyu's crying, Xue Baochao's thoughtfulness, and Wang Xifeng's shrewdness are all just presented, and the author does not say who he likes or dislikes. As age changes, you will like different people, and different age groups will pay attention to different people.
Probably the first time I read "Dream of the Red Chamber", my attention was mostly on Baoyu and Daiyu, and I saw the entanglement of this pair of men and women. We were probably twelve or thirteen years old at the time, and we couldn't understand why every day two young men and women had to huddle together, write a letter after class, and then run to the other person's door and throw it in, we couldn't explain it.
Lin Daiyu and Jia Baoyu are like this. In fact, they live in the Grand View Garden, and they can walk two steps together, but they always feel that those two steps are separation. This separation is always a sadness. Therefore, in "Dream of the Red Chamber", this main line will constitute a mythological issue.
When you watch it for the second time, you will find that the character of Wang Xifeng is extremely well written. She was so capable at the age of seventeen, the cautious situation when she married into the Jia family as a daughter-in-law, and the love of Jia Mu, with Jia Mu's support, she could manage three hundred people and act neatly and beautifully. Her husband is actually very snuggly, and he will make a little wife outside without a problem, and Wang Xifeng will clean up the mess for him. This seventeen-year-old girl became a strong woman in Jia Province. Wang Xifeng will sometimes be a character so powerful that you are afraid; but sometimes she is more spoiled than anyone else, she knows how to make others hurt her, and often provokes Jia Mu to comfort her.
I have a friend who teaches in the United States and teaches Dream of the Red Chamber. He said that every year after teaching, there is an exam that requires everyone to choose their favorite role in the twelve golden noodles, and he said that the first person who ranked first for several consecutive years was Wang Xifeng, definitely not Lin Daiyu. I think you can understand that today, especially American students, where will you like a girl who cries every day?
But Wang Xifeng is different, in today's language, she is a strong woman in the enterprise, she manages three hundred people, which is more difficult than we manage an enterprise today. The three hundred people belonged to different classes, intriguing and intricate, and she had to balance them all. Moreover, the money of this big family is getting less and less, and more and more is outgoing. So she's going to move money around and lend money at usury, and you can see how powerful she is. Let's not forget that she was only seventeen to twenty years old.
Jiang Xun is a famous writer, poet, painter and aesthetician. Born in Xi'an in 1947, he settled in Taipei in 1951 and studied at the Department of History of the Chinese Culture University, the Institute of Art of the Chinese Culture University and the University of Paris. In 1976, he became the editor-in-chief of Lion Art, and taught at National Taiwan University and Tamkang University. In 1984, he founded the Fine Arts Department of Tokai University and served as the head of the department, and in 1996, he became the president of United Literature. He retired from teaching in 2000 and specialized in writing and painting.
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