"Identity" seems to have always been a tangled question in life.
Originally, everyone came and went empty. No one came in brocade when he came, and he couldn't take gold and silver treasures with him when he left. Decades in the world are just a journey through, and all kinds of "identities" endured are all temporary, and in an instant, "the white expanse of the earth is really clean" (the fifth time).
But some people,quite a few—are particularly concerned with this temporary thing, not only to argue for it, but also to show it; not only to show themselves, but also to examine others. This has created three, six, nine, hot and cold, and then a series of very troublesome things.
Cao Gong himself has experienced the cliff-like decline of "identity", coupled with that clever and transparent wisdom, his understanding of this is different from others, and he has a good understanding of the world's various performances at this end, and he can see the end at a glance.
So in his writing, there are a series of examples that inspire us to look at things clearly and soberly.
The more problematic the place, the more regular things can be exposed, so let's talk about some negative examples.
Negative examples can also be divided into several categories.
One category is to talk about fame and fortune. The resulting consequences are either inferiority leading to perverted "aggressiveness", or disregard for reality and contempt for others. Typical characters: Aunt Zhao, Wang Shanbao's family.
The affairs of the two people are related to Tanchun.
Let's look at Aunt Zhao first.
Originally her condition was not bad. The favor of the political lord is almost to the level of "special room"; the daughter is a golden phoenix without a teacher, and the director of the family is not a star and a half stronger than the "phoenix egg" born by Madame Wang--as long as the mother does not follow the chaos, thank God.
As long as she is careful to keep it, there is probably nothing to lose.
There is such an "identity" problem in life: "My aunt and grandmother can't scold me, and I didn't buy it from my aunt's family." 'Mei Xiang bai zi - all are slaves'" (sixtieth time). Although Fang Guan's words were more mean, they were basically a truth. That was the ritual.
But what Aunt Zhao is worried about is precisely this ritual and the "identity" it brings. Psychology believes that sometimes the more psychological inferiority complex people are, the more they have to take the plunge. So she always wanted to pursue a peak, and the probability of "stepping on the pit" whizzed up.
When Tanchun Guanshi was actually just an agent, the deformed "enterprising" that had evolved from her obsession with "identity" began to explode. For Tanchun to give Zhao Guoji twenty-two silver to bury the cost according to the "old account", this "original was a bit upside down, three is not two", she cried and made a big fuss, insisting that "kick off my head", a mouthful of "you give twenty or thirty two silver"! "You should be pulling and pulling us more and more"!
In fact, the amount of money is an appearance, what she really wants to express is "this will not even attack people, what face do I have", the sentence that repeatedly insists on "Now your uncle is dead", in the end, it is an extreme entanglement of her own "identity". (55th)
Look at Wang Shanbao's family.
She gave Madame Wang a bad idea, and she was extremely active in the front of the execution, and as a result, she was beaten fat here in Tanchun.
Even Sister Feng, who had almost no one in sight, angrily praised Tanchun as a "good third girl" (the fifty-fifth time), and when she carried out her mission, she "laughed and said, 'I just came at the behest of my wife, and my sister should not blame me.'" Why be angry'" So why did Wang Shanbao's family dare to "move forward more than the crowd, pull up tanchun's clothes, deliberately lift it, and giggle: 'Even the girl's body I turned over, and sure enough, there was nothing'"?
I am afraid that it is not as simple as "no calculation in the heart", which contains two attachments related to "identity".
One is Tanchun's identity - "Where a girl's family rises like this, and it is also out, how dare she"?
One is her own identity--"She thinks that She is Lady Xing's companion, and even Lady Wang still looks at her differently, let alone the other one." (74th)
And there's another factor in that. Wang Shanbao's family was in Lady Xing's place, probably accustomed to Yingchun's only promises and cautious manners, so they thought that the ladies under the sky were all "two wood heads", and as a result, they were pierced by the "roses" (the sixty-fifth time) that everyone in the Grand View Garden respected- "A word was not said, only to listen to the sound of 'pop', Wang Shanbao's face was already on the face of Tanchun" "You look at me as a good child like your girl, and you bully her, you have the wrong idea"! (74th)
One category is explicit privilege, tree individual. Typical characters: Qingwen, Qiuwen.
Qingwen is the "first-class person" in Baoyu's eyes, but at the same time, in front of the attacker, she "can't destroy my order" (the seventy-seventh time), and the collision of these two "identities" has stimulated her unusually fierce heart fire.
In Qingwen's highlight section, which is also a dead bridge section, "ultra vires to expel the fallen child", this heart fire is particularly obvious.
On the one hand, he didn't leave Baoyu in his mouth- "Second Master Bao only told me", "Second Master Bao made him face to face", "Second Master Ming'er Bao personally returned to his wife", "Second Master Bao's instructions today" "You only waited for Baoyu to ask him this, and had nothing to do with us." When it was pointed out that "he did not listen to the mediation of the girls", although Qingwen said that "she blushed sharply", she was afraid that she was not without the pride of "a first-class person".
On the other hand, hearing the words "Wait for the flower girl to come back and know, and then send him", he immediately hit back and said, "What flower girl grass girl" and "you only follow my words" - to see if I can "defeat" that "flower girl"! See if you can "extinguish the order"! (52nd)
Although Qiu Wen's sense of existence in Baoyu was a little worse, after all, he was also one of the four "big men" around "Grandpa". This is also an "identity", and it also needs to be shown to live up to it.
So in the face of a pot of "old lady tea" boiling water, he dared to say "you don't give it to me, just pour the old lady's tea hammer and wash your hands"!
Why dare I say that? It is nothing more than because of the "identity" of the bottom - "if you don't want it, dare to ask for it?" ”
The mother-in-law who has been fetching water for the old lady has a smiley face, "I was blind, I didn't recognize this girl"--"The "identity" of the "big man" around the "grandfather" is enough, and as for "washing it in hot water" it is secondary. (54th)
During the season when she was in charge of the spring festival, she had to "ask Baoyu's monthly money and our monthly money, how early and late to receive it." When told, "There's a meal to be served." Wait to remove the table, and then talk back", she was the first to angrily exclaim, "I can't compare to you, I can wait there" - "Who am I" around? Dare me to "wait"? (55th)
I'm afraid that when she looks at the issue of Tanchun, the psychological level and Wang Shanbao's family are quite a bit of the same frequency resonance - "where a girl's family just rises like this, and it is out of the house, how dare she"! Wang Shanbao's "battle is Lady Xing's companion room" (the seventy-fourth time), and Qiu Wen is Baoyu's big mane - all of them are all goods supported by "identity".
One type is graphic imagery, co-ordination. Typical character: Miao Yu.
"Outsiders from the threshold", in order to maintain her idle clouds and wild cranes, transcendent things, especially the "identity" of "extreme purity and purity" (the 112th time), should actually do the practice of "equality of the world's law" and "pity the old and pity the poor" - "it is better to give it to the poor woman, he can also live if he sells it."
As a result, the end of the world is completely reversed, and the end of the book is abandoned.
"If I eat it, I will smash it and I will not give it to him"! This gritted teeth is also enough - mainly because I think that the things that Grandma Liu has touched are "dirty" and damage her "identity" of "extreme purity and purity".
Fortunately, there are "sills" to play a round field, which not only helps Liu Grandma, but also satisfies the "identity" - "you talk to him there and accept it, and even you are dirty more and more." Even this did not reassure the owner of the "identity", when proposing to "call a few children to come, a few buckets of water in the river to wash the ground", the master still stressed that "they carried the water, only rested under the wall outside the mountain gate, do not enter the door." (41 times)
From the attitude towards Grandma Liu and finally the attitude towards the living environment, we see that the master strives to maintain and show himself and the "cleanliness" of the ground here, and to show his white and flawless "identity".
In fact, everyone can see through it, these are all superficial phenomena, and the inner bones are full of muddy water.
Many characters have different performances, but in the end, they all boil down to the same destination - they are all dragged down by various "identities", more or less lose their authenticity, and are mistaken for real life.
In fact, what we should do is not to fall into the worldly trap in the fog of the "identity" of the noble and the inferior, and truly manifest the vitality of nature's empowerment and exertion of life.
Of course, the "Dream of the Red Chamber" thing happened in feudal society, and it is difficult for us to be harsh on the behavior of the characters in these books. However, in today's twenty-first century, we should strive to open our hearts, remove the false and the true, throw away the shackles of "identity", and in the embrace of nature, be at peace with ourselves and wait for others - this should also be Cao Gong's expectation of us to transcend time and space.
Author: Wind and Rain Autumn Window, this article is to read less of the original works of the Red Chamber.