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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
Comparing Jia Baoyu and Lin Daiyu's first meeting, and Ximen Qing and Fan Jinlian's first meeting, it is not to learn the title party, not to invite scolding, but just to explore the changes of ancient novels and the development of narrative art.
In particular, it should be emphasized that we must resolutely avoid taking such a big and inappropriate concept as classical novels, chapter novels and even popular novels, and erase the innovation and transcendence of "Dream of the Red Chamber" in narrative art.
(i)
Bao Dai's first sight, in the third time of "Dream of the Red Chamber", the description is classic:
Without a word, he only heard a footstep outside, and the young man came in and smiled: "Baoyu is coming!" Dai Yu was wondering in her heart: "This Bao Yu, I don't know how to give birth to a lazy character and a naughty boy?" "I don't see that stupid thing!" Thinking in his heart, he suddenly saw that the beard had not finished speaking, and a young prince had already come in: wearing a bunch of hair inlaid with a purple and gold crown, and his eyebrows were tied with two dragons to grab the pearl gold smear; he was wearing a two-color golden butterfly wearing a flower big red arrow sleeve, tied with a multicolored silk knot long spike palace; the outer cover was covered with stone blue flowers and eight bunches of wrought tassels; and he was wearing green satin foundation small dynasty boots. The face is like the mid-autumn moon, and the color is like the flower of spring dawn. Sideburns are like knives, eyebrows are like ink paintings, faces are like peach petals, and eyes are like autumn waves. Although anger sometimes laughs, that is, contempt and affection. On the necklace, there is a golden stingray, and there is a five-colored silk tapestry, tied with a piece of beautiful jade. When Dai Yu saw it, she was shocked and thought to herself, "It's strange, it's like I've seen it somewhere, how familiar it is!" ”
This is the treasure jade in Daiyu's eyes. The narrative technique used here first borrows from the "point" in classical opera, that is, the character (Ya Gui) shouts: "Baoyu is coming!" "After that, the characters enter the stage, enter the vision of the characters inside the story and the readers outside the story. At this time, there is a narrative pause, twice describing the psychological activities of the characters, and describing the character images in the middle, so that the narrative time is far greater than the story time.
There is also the fact that the author used the "magic pen" and used the multiple dyeing method mentioned by the lipogram -
In the first time, a monk and a monk have pointed out in the dialogue the past life of Bao Dai and the next life, a divine attendant, one is a Daizhu grass, which is about to come to the world, and the Daizhu grass will repay the irrigation of the attendant on the bank of the Ling River with a lifetime of tears.
In the second time, from leng Zixing and Jia Yucun' mouths, Baoyu and Daiyu were mentioned respectively.
In the third time, Madame Wang specially told Dai Yu that Bao Yu was stubborn and would rather stay away than provoke.
Although the people in the story are the first sight, the reader already has a number in his heart.
More importantly, when describing the external image of Baoyu, the narrative and perception are separated, and the narrator outside the story is describing, but using the character perspective and character perception.
Next, Baoyu saw Daiyu and transformed into Baoyu's perspective. According to Jia Mu's instructions, Bao Yu left the scene to see Madame Wang, changed into civilian clothes, appeared again, listened to Jia Mu's greeting, and saw Dai Yu. The book reads:
Jia Muyin smiled and said, "The foreigner didn't see you, so he took off his clothes and didn't go to see your sister yet!" Bao Yu had already seen one more sister, so he expected that it must be the daughter of Aunt Lin, and he was busy doing it. Seeing the end, sitting down, looking at the description carefully, and distinguishing 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.
Here, "Baoyu has already seen one more sister, and it is expected that it must be the daughter of Aunt Lin..." Secretly used flashbacks to make up for the fact that before Jia Mu's command, even in Baoyu's previous appearance, he had noticed Daiyu, and when he was "busy", he returned to the main narrative.
Here are several lipograms to remind the reader that the author used the character perspective at this time:
Not writing about the dress and makeup is exactly what Baoyu despises in his eyes, so he has not seen Daiyu's demeanor and appearance is also Baoyu's eyes and heart; if it is not Baoyu, he will not know what kind of character Daiyu is.
It can be seen that the narrative techniques of "Dream of the Red Chamber" are complex, and the narrative art is mature, especially the application of perspective. "Dream of the Red Chamber" generally uses a third-person narrative, using an omniscient perspective, and in the specific narrative process, according to the needs of the plot, it adopts the perspective of the characters, which is clear and appropriate.
(ii)
The second time in Chongzhen's "Golden Bottle Plum", it is written that Ximen Qing first met Pan Jinlian:
One day, in the bright spring of March, Jin Lian dressed up brightly, waited for Wu Da to go out, and stood under the curtain in front of the door. When he returned, he lowered the curtain and went to sit in his room. One day was also a good thing, but a man came from under the curtain. Since ancient times, there has been no coincidence, and marriage should be combined. The woman was holding a fork pole in her hand to put the curtain, when suddenly a gust of wind blew the fork rod down, and the woman's hand was unstable, but it hit the man on the head. The woman hurriedly smiled and looked at the man, who was also twenty-five or six years old, and was born very floaty. On his head, he wears a tassel hat, a golden bell long hairpin, a golden well jade railing circle; a long waist, wearing green luo folds; a thinly knotted bottom Chen Qiao shoes under his feet, a clear water cloth sock; a sprinkled Jinchuan fan in his hand, the more he shows the appearance of Zhang Sheng'er and Pan An. Pleasant people, the wind and currents are thrown from under the curtains with a look of an eye.
The man was hit on the head with a forked pole, so he stood on his feet, and when he was about to have a seizure, he looked back at his face, but he did not want to be a beautiful and charming woman. But see her black-haired bearded crow's sideburns, green curved crescent eyebrows, fragrant cherry mouth, straight rumbling Qiong Yao nose, pink thick red cheeks, delicate dripping silver basin face, light flower body, jade slim onion branches, a twisted willow waist, soft thick powder white belly, narrow star pointed feet, meat grandmother breast, white raw legs, and a tight, white fresh, black pants, I don't know what it is.
There is also a narrative pause here, and the narrator directly comes forward to make a statement: "Since ancient times, there has been no coincidence, and marriage should be combined." "It's the storyteller kissing.
Then there is the scene description, which can be carefully analyzed at that time: Pan Jinlian stood under the curtain in front of the door, Ximen Qing walked under the curtain, one person inside the door, one person outside the door, such a close distance, and not a peaceful person, until the fork pole in Pan Jinlian's hand hit Ximen Qing's head, only to find each other.
Whether it is the spatial consciousness of the story, as well as the perspective consciousness, it is not clear. Ximen Qing walked past Pan Jinlian's door, and he definitely would not wait until the fork rod hit his head and turned back to see such a "good female" - his head had not been kicked by a donkey, and his eyes were not blindfolded by a donkey.
Pan Jinlian held a fork pole in her hand to put the curtain, a gust of wind came, the woman's hand was unstable, and the fork pole hit Ximen Qing's head. The Pan Jinlian seen here in Ximen Qing was in spring. Qinghe County is not very hot, Ximen Qing can see very limited, absolutely can not see "meat grandmother breast, white raw legs", and can not see a sentence below the unsightly thing.
The picture on the "Water Margin" TV series is that Jin Lian closes the window upstairs, and the pole slips off and hits Simon on the head, which seems more reasonable. However, the description of the physical characteristics of Jin Lian in the previous paragraph is basically useless.
Interestingly, the book writes pan Jinlian's first impression of Ximen Qing, "sweet language", and vaguely uses the perspective of the character:
At that time, the woman saw the flow and flow of the life, the language was sweet, and she was even more nostalgic: "I don't know who this person's surname is, and where he lives." If he hadn't had my affection, he wouldn't have looked back seven or eight times before he left. But under the curtain, he couldn't see the man, so he closed the curtain, closed the door, and went back to the room.
In "Jin Ping Mei", psychological descriptions are used, and through Pan Jinlian's language, Ximen Qing's actions are described--when he left, he turned back seven or eight times.
Then to the third time in "Jin Ping Mei", Ximen Qing saw Pan Jinlian again at the home of Wang Bao, and the awareness of perspective was enhanced:
Ximen Qing opened her eyes and looked at the woman: cloudy and green, pink face, wearing a white cloth shirt, a pink skirt, and a blue armor, and was making clothes in the room. When he saw Ximen Qing coming, he lowered his head.
(iii)
The story of "Jin Ping Mei" is derived from "Water Margin". The twenty-third time in the "Water Margin" writes about Ximen Qing's first meeting with Pan Jinlian:
After another three or two days, the winter is about to be crippled, and the sky is slightly warm. On that day, General Wu returned. The woman was accustomed to it, and she first came to the door to fork the curtain. It is also a good thing, but a good person walks by the curtain. Zi Gu said, "No coincidence." "This woman was holding a fork rod in her hand, and slipped and fell backwards, and it was improper, but it was good to hit the man's turban. The man stood on his feet, intending to have a seizure; when he looked back, it was a charming woman who had first crisped herself halfway, and the anger went straight through the "javanese country" and turned into a smiling and moaning face.
When the woman saw that she was not strange, she crossed her hands and said deeply, "The slave family lost her hand for a while." Is the official in pain? The man straightened his hands into a turban, bent his waist to the ground in return, and said, "Don't worry." The lady flashed her hand? But the queen mother of this wall was seeing it under the water curtain in the tea bureau and smiled: "Wu! Who taught the great officials to beat this roof over the eaves? Played just right! The man laughed and said, "This is a villain, not a villain." Rush the lady, Hugh weird. The woman also laughed and said, "The officials forgive the slaves." The man laughed again, singing a big fat voice, and said, "The little man does not dare." "Those eyes were only on this woman, and she also returned her head seven or eight times, swaying herself, and stepping on the figure-eight feet." The woman closed the curtain and entered, covered the gate, and waited for Wu Da to return.
Who is the name of the man you say? Where to live? It turned out that it was just a rich man in Yanggu County who had opened a raw medicine shop in front of the county. Since childhood, he has also been a treacherous person, making some good fists and sticks; recently, he has been in charge of some official affairs in the county, and he has abused people, said that things have been too much money, and trapped officials. Therefore, the people of Manchuria spared him some. The man's surname Ximen singled out a qingzi, ranking first, and everyone called him Ximen Dalang. ---------------------------------
Here, spatial consciousness and perspective consciousness are not very clear. Less than the distance of a fork pole, Pan Jinlian focused on the fork curtain, looked up with both eyes, and could not see Ximen Qing, which could be understood. But the door was open, so close that Ximen Qing couldn't see Pan Jinlian, which was unreasonable.
But here, the narrative of the novel appears deliberately obscured, leaving suspense: from the beginning, it is only said that it is "that person", and then the narrator points out Ximen Qing and makes up the identity history, which can also be regarded as "shaking baggage".
Novels come from telling history, one is to have a book, storytellers interpret according to the original history and legends, open in the place where the citizens are concentrated, earn money and make a living, and then the literati organize into books and develop long chapters of the Ming and Qing Dynasties.
The American scholar Andrew H. Plaks gave a lecture at Peking University, disseminated his research results on the Long Chapter Hui Novels of the Ming and Qing Dynasties, and later published "Chinese Narrative Studies", which analyzed the authorship and artistic innovation of "Jin Ping Mei".
Pu Andy wrote: "Who the author of "Jin Ping Mei" is still a mystery, and the academic community is constantly arguing. Shen Defu, a Ming Dynasty man, believed that it was done by a famous scholar in Jiajingjian and guessed that it was Wang Shizhen. Then he quoted Mr. Lu Xun's words:
The author's situation in the world, Gai Chengji Dongda, everything described, or smooth, or tortuous, or carved and full of appearance, or lying and meaning, or write two sides at one time, so that it is dwarfed, changing feelings, with the obvious, at the same time, said the ministry, there is no above, so the world thinks that non-Wang Shizhen can not do.
Pu Andy went on to argue that:
According to my research, the six masterpieces of the Ming and Qing novels are not so much the creation of the commoner body on the basis of oral literature, but rather a special kind of literati creation at that time, and the pinnacle of which is from the handwriting of some high-talented literati who did not meet at that time, the so-called "talents".
At the time of the Ming and Qing dynasties, novels born out of rap art are undergoing a transformation from listening to works to reading works, from artist rap to literati creation, from citizen pastime to literati appreciation, and the narrative of novels is also changing from the artist's rap horn to a self-sufficient artistic organism. Writers gradually turned more energy to novel narrative techniques, and the problems encountered by modern novels such as perspective were highlighted.
From "Water Margin" to "Jin Ping Mei" to "Dream of the Red Chamber", narrative art has matured. Lip critic praised "Dream of the Red Chamber":
It can really overwhelm ancient and modern novels, and this is considered a novel.
The famous contemporary writer and scholar Ge Fei said:
In the development of Chinese novels, the emergence of "Dream of the Red Chamber" also marked the birth of a mature narrative method.
It can be said that it accurately judged the innovative achievements of the narrative art of "Dream of the Red Chamber". Analyzing the different depictions of Qinglian's first meeting with Bao Daici can provide a glimpse of the development of narrative art in Chinese novels.
(The text quotes the text and punctuation of "Dream of the Red Chamber", and unless otherwise specified, all use "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 of them are 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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