□ Hangzhou Normal University Zhu Jianxin Zhang Yifei
Young Lu Xun.
Jiangnan has always had the custom of shang ghost gods and believe in witchcraft. This fashion can be confirmed by a large number of ancient texts, such as "his common belief in ghosts and gods, good obscenity" (Sui Shu, Geography 2). It can also be confirmed by cultural relics excavated from the Hemudu Cultural Site and the Liangzhu Cultural Site. The "double bird rising sun" pattern unearthed in the former, with a conjoined head and a sun engraved on it, indicates that the bird has some kind of divine characteristics. The latter unearthed a mask of jade food, which is a mask worn by a shaman when presiding over the ritual of exorcising ghosts and diseases.
As a folk custom, the worship of ghosts and gods has a profound influence in folk beliefs. After Buddhism was introduced to China, not only did it not reject the belief in ghosts and gods, but instead used the doctrines of "three reincarnations" and "karma" to enrich and transform the belief in ghosts and gods. The ghost belief has found its place in the "six paths" of Buddhism.
The belief in ghosts and gods constitutes a deep memory of Jiangnan people. As a cultural heritage, modern Writers from Zhejiang have a more complex of ghost god writing.
Lu Xun was born in Shaoxing, where he has a strong belief in ghosts and gods, and has been familiar with ghost god legends and sacrifices since he was a child, and he is very familiar with ghost god writing. Lu Xun wrote about ghosts and gods in the following two categories:
First, the use of ghost god writing to carry out cultural reflection and criticism of social reality.
In Gangnam, the worship of ghosts and gods is an important ritual of the belief in ghosts and gods. In the novel "Blessings", Lu Xun begins by writing about a large section of sacrifice customs during the New Year. Correspondingly, the novel also writes that Xiang Lin's sister-in-law poured all her money to the temple to donate thresholds. This is her desire to make merit to eliminate the fear of the ghosts and gods of the underworld. The detailed description of the ritual customs of Luzhen and the writing of the threshold for Xianglin's sister-in-law's donation paved the way for the question of "whether the soul is there" in the later text. In "Hometown", "I" moved home, and my mother asked me to give the things that I did not have to move, and the earth picked up several things: two long tables, four chairs, a pair of incense burners and candlesticks, a scale, and grass and wood ash. Incense burners and candlesticks, which are used for sacrifice, express the hope of the leap earth on the other shore. The belief in ghosts and gods has become the only hope for salvation of Xianglin and Yantu, which is a phenomenon that deserves profound reflection.
Lu Xun once said: "Huaxia is probably not hell, but 'the realm is created by the heart', and my eyes are always filled with overlapping black clouds, among which there are old ghosts, new ghosts, wandering souls, cattle heads, beasts, metamorphosis, shouting, no calling, making me unheard." "A hell called out by ghosts, a metaphor for a dark real society." In the article "The Lost Good Hell", Lu Xun refers to the oppressed people as "ghosts". Hell has "the roar of the flames," "the boiling of oil," and the "tremor of the steel fork," which is a metaphor for a dark society. Later, the ghosts, inspired by the mandala flowers, called for help to the "humans" and drove away the devils, and then the ghosts cheered for a short time, and the "humans" still screamed at the ghosts. No matter how the flag erected on the gates of hell changes, hell is still hell after all, and the fate of ghosts is still "punishment for eternal destruction and destruction." In a metaphorical way, Lu Xun reflected the partisan struggle at that time, revealed the fate of the people, and also criticized the people's forgetfulness. In the article "On the Emperor", Lu Xun pointed out: "Chinese deal with ghosts and gods, the fierce is flattery, such as the plague god and the fire god, and the honest one will bully, such as the land or the stove king." Through the attitude of the Chinese people toward ghosts and gods, Lu Xun made a profound criticism of the ills of the Chinese people who are soft and afraid of evil. In the article "Sending stove days", Lu Xun wrote that in order to deal with the fact that the god of Vesta went to the Jade Emperor to sue the owner, the god of Vesta ate a kind of sugar of "gum tooth dumplings" to stick to the teeth of the god of vesta so that he could not say bad things. In this way, Lu Xun criticized the inferiority of the Chinese people, such as the importance of utilitarianism and the habit of "concealing" and "cheating".
Second, Lu Xun advocated the "beauty of evil" through the images of ghosts and gods such as "impermanence" and "female hanging", which is the embodiment of the idea of "establishing people".
Regarding the servility of the Chinese people, Lu Xun once said indignantly: "Chinese culture is a culture of serving the master, which is exchanged for the pain of many people. Therefore, Lu Xun advocated the "beauty of evil" to deconstruct the classical aesthetic principles of "harmony" and "moderation". In the article "Impermanence", he wrote that impermanence is just as jealous and evil as a vendetta: "It is difficult to be a person who is let go!" Afraid of you, brass wall! Even if you are a relative of the Emperor! Lu Xun admired impermanence, calling it "ghostly and human, reasonable and affectionate, terrible and lovely impermanence." In "Female Hanging", Lu Xun portrays the "female hanging" as a poignant vengeful goddess: "a ghost with vengeance, more beautiful and stronger than all other ghosts." This is the 'female hanging'. According to Xu Shousheng's recollection: "On the afternoon of October 17, the afternoon of October 17, the japanese writer Lu Dizhen's apartment, lu Xun also talked about this 'female hanging', which can be called Lu Xun's last conversation. At the end of his life, Lu Xun created "Female Hanging" and talked about "Female Hanging", which shows his preference for the ghost god image of "Female Hanging". Lu Xun tried to use the impermanence and female hanging image in Shaoxing's drama to dig out the sense of resistance in the depths of the people's subconscious.
Zhou Zuoren also created many articles related to ghosts and gods, which can be roughly divided into two categories:
First, "talking about ghosts" in the folklore sense.
Most of these ghosts and gods are produced in Jiangnan folk religion. Such as vesta ("Dou Cun"), impermanence ("About the Race to meet the gods"), hanging ghosts ("Things in the Water"), river ghosts ("Things in the Water") and so on. In the article "On the Greeting of the Gods", Zhou Zuoren's impermanent image is witty and ridiculous, similar to Lu Xun's impermanent image, but more from the perspective of folk interest. In addition, Zhou Zuoren made a very detailed description of the folklore of worshipping ghosts and gods, which shows his love for folklore. In the article "Things in the Water", Zhou Zuoren recorded the various characteristics of river ghosts, which should have been terrifying and spooky river ghosts, but they played games together, which was a little more folk fun, and wrote out its "ghost and people" and even cute side. In this way, it highlights Zhou Zuoren's pursuit of fun aesthetics. In the article "Discussion of Ancestor Worship", Zhou Zuoren fully affirmed the ritual folk customs that prevailed in Jiangnan. In the article "Before Li Chun : On Sending Stoves", Zhou Zuoren quoted the scriptures and conducted a detailed examination of the differences in the customs of sending stoves in the north and south, showing a strong interest in folklore. Why is Zhou Zuoren committed to writing ghosts in the folk sense? He said: "Social anthropology and folklore are the bright lights in this corner, but in China nature is not yet developed, and I don't know if it will develop in the future." I would like to make the river ghost a pioneer and arouse everyone's interest in the investigation and research in this area. It can be seen that in his view, the belief in "ghosts and gods" is a kind of folklore that is worth studying.
Second, "talking about ghosts" in the sense of cultural criticism.
Zhou Zuoren is good at talking about ghosts, and many articles have dealt with this topic, so they are misunderstood to escape reality. In fact, Zhou Zuoren also wrote many articles on cultural criticism through the writing of ghosts and gods. Zhou Zuoren once divided ghosts into "dead ghosts" and "living ghosts", and said that a new and more powerful ghost was called "Hereditary God King", and he even said: "The words and deeds of all levels in modern China are written line by line in the ghost account books of the Twenty-Four Histories." This kind of thinking is consistent with the "theory of seed karma" borrowed by Zhou Zuoren from Buddhism, which has made a profound reflection on the bad habits of heredity and a profound criticism of the inferiority of the people. In the article "Dou Cun", Zhou Zuoren recorded several "good sayings" in the Qing Dynasty scholar Hu Shiyu's "Dou Cun", one of which wrote that the people feared the god Vesta and feared his complaint, and blocked his mouth with food. Zhou Zuoren deliberately chose to record this story of Vesta, which is a profound criticism of the pursuit of utilitarianism in the work of the Chinese people. Zhou Zuoren's criticism Chinese practical religious attitude is also mentioned in the article "On the Greeting of The Gods". In the article "Firecrackers", Zhou Zuoren analyzed that the people set off firecrackers, not out of aesthetics, but out of superstition to drive away ghosts. The article profoundly criticizes the human weaknesses of the Chinese people.
Among the modern writers of Zhejiang, Shi Jingcun, Xu Zi, Feng Zikai, etc. also have ghost gods writing.
Shi Sting.
Shi Jingcun's novels "Night Fork" and "Magic Road" are not written by real ghosts, but they are also related to this, and the protagonist's hallucinations originate from the memories of ghost gods. "Night Fork" tells an absurd and strange story: Bian Shiming uses the white woman who has appeared many times as the incarnation of the night fork, and finally strangles a village mute girl for the night fork. When Bian Shiming discovered the truth, he hurried back to Shanghai, but accidentally met a cousin of "I" who was very similar to the dumb woman he strangled, and Bian Shiming was deeply stimulated and insane. "The Devil's Way" tells that "I" went to the countryside to visit a friend, and in the car I met a terrifying old woman: she was hunched over her back, her face had many evil wrinkles, her nose was low, and her lips were crooked. So I fantasized about the old woman as a. In Shi Jicun's pen, the protagonists are all men who live and work in the city, and their ghost fantasies express "an unstable mood of urban people".
Xu Ji also loves ghost writing. There are many ghost images in his literary works, such as "Ghost Love", "Crazy Heart Well", "Leaving the Soul", "Inside the Garden", "The Smile of Gele Mountain" and so on. The ghost god writing in the novel "Ghost Love" is also a borrowing of the ghost god. In the novel, Xu Ji creates a fake female ghost image. The "female ghost" is beautiful in appearance, knowledgeable, kind in personality, and experienced. She pretends to be a ghost because of her deep disappointment in the real world. In the novel, the "female ghost" is given an extremely beautiful image, "when moving, there is immortal-like activity and elegance, and when it is quiet, there is Buddha-like solemnity." The novel borrows the image of a female ghost to construct a mysterious and strange love story. In the eyes of "I", "female ghost" is super utilitarian, but there is a huge gap between it and reality. Therefore, it is impossible to walk together between "female ghost" and "I", expressing the writer's deep disappointment in the dark real world.
Yang Yi once commented on "Liaozhai Zhiyi": "True illusion is intricate, with illusion, behind the fantasy fox ghost world hides an anxious and sharp human introspection." It writes a re-understanding of human values with colorful illusions, and uses illusions to increase narrative freedom. In fact, why is this not the case with the ghost writing of modern Zhejiang writers?
Xu Ji.
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