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The author Is Yang Huan (a student outside the threshold), a science student who loves "Dream of the Red Chamber" and has been reading the Red Chamber for ten years. Engaged in scientific research during the day and literary research at night, I hope to have the opportunity to communicate with everyone and read the Red Chamber. Author's self-description: Qiwen shared appreciation, doubt and analysis. Test the taste, and the fan will understand it.
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Students outside the threshold
When I read a treatise on the philosophy of Traditional Chinese medicine last year, I read somewhere and often felt that there was a "grass snake gray line, horse traces and clues" affecting the Red Chamber. Today, back to the text of the Red Chamber, Fang Juezi has the roots of Chinese medicine philosophy between the lines. I have written a brief discussion on the word "good and evil" in the previous article, but today I still talk about the "yin and yang" of the Red Chamber in my heart from the perspective of a layman.
After the Red Chamber saw the pomegranate flowers of "building on the building" in the Grand View Garden, there was a long discussion about "yin and yang".
Putting aside the yin and yang thesis of the last master and slave of Cui Wei, and the xiangyun thought alone, in the author's opinion, its main points include four points:
1. Qi monism
Xiangyun said:
"This yin and yang is just a qi... Heaven and earth are endowed with yin and yang... For example, the sky is yang, and the earth is yin..."
She affirmed that everything in the world, including heaven and earth, is material and is only born of "qi" with natural attributes such as yin and yang. This is the fundamental point of the Yuanqi Origin Theory, which excludes the spiritual origin or the origin of "nothingness" before "qi". Material qi is the highest category in Xiangyun's philosophical conception;
2. Qi endowment is formed
On the question of how "qi" generates everything in the world, Xiang Yun proposed:
"Artifacts are given shape."
She also talks about the process of qi formation:
"Heaven and earth are endowed with yin and yang, yin and yang, or good or evil, or strange or strange, ever-changing, all are yin and yang, how many lifetimes come out, people are rare and strange, in the end the reason is still the same."
Xiang Yun believes that the formation of qi is the general principle of the generation of all things in heaven and earth. As for the things that yin and yang can produce "kaleidoscopic", it is caused by their flow of obedience and inverse. (This theory may be seen as the unity of the diversity of phenomena and laws.) ）
3. Material "qi" does not matter whether it is born or dies
In response to Xiangyun's aforementioned argument:
Cui Wei said, "So, from ancient times to the present, opening up the heavens and the earth, it is all some yin and yang?" Xiang Yun laughed, "Confused things, the more you talk, the more you fart." What 'is all yin and yang', is there still a yin and yang! The words 'yin' and 'yang' are still just one word, when the yang is exhausted, it becomes yin, and when the yin is exhausted, it becomes yang, not when the yin is exhausted, a yang is born, and when the yang is exhausted, another yin is born. ”
Xiangyun believes that "yin and yang" have nothing to do with birth and death, that is, "matter" has nothing to do with birth and death. (Xiang Yun's general thesis is to refute Zhou Dunyi's view that "Tai Chi moves to give birth to yang, moving poles and static, static is born of yin, and static is to re-move".) ）
4. A simple dialectical view
Xiangyun believes that yin and yang are all qi, and it doesn't matter whether they are born or die, but the two can be transformed into each other.
"When the yang is exhausted, it becomes yin, and when the yin is exhausted, it becomes yang."
This means that everything is transformed into opposites, and even a leaf has yin and yang. The "dissipation" mentioned in Yong Xiangyun's song "Sorrow in Music" also has the same magic:
In the swaddling, the parents sighed and died. Who knows how to live in that Qiluo Bush? Fortunately, he was born heroically and magnanimously, and never slightly cared about his children's private feelings. It is similar, Ji Moonlight wind shines in the jade hall, the match is talented and beautiful, the land is long, and the shape of the child is folded. For a long time, the clouds scattered high Tang, and the water dried up the Xiang River. This is the number of long in the dust, why should we be sad!
What's even better is that just as Xiangyun Cuiyi was talking about "yin and yang", he saw that one thing under the rose shelf was a "golden qilin" with brilliant literary brilliance, and it was bigger and more colorful than the red gold-dotted qilin that Xiangyun himself wore. Xiang Yun stretched out his hand in his palm, and somehow, his heart moved, as if he had a feeling. As soon as she looked up, she saw that Baoyu had come to her, and at the moment, this strange golden qilin was accidentally lost by Baoyu.
Baoyu clearly occupies a central position in the whole novel. The way other characters relate to Baoyu varies. Therefore, in the forty-sixth time of the Red Chamber, the commentary of Li Yanzhai pointed out:
All cases of the Ministry of Communication must be registered from Brother Shi. However, each has its own manuscript, interspersed with wonderful.
The fat criticism tells us that there must be an internal connection between the various characters in the Red Chamber and Baoyu. If everything in the world is ever-changing, and it is always the result of the obedience of yin and yang, then one of the hidden lines of Cao Gong's fu pulse is that the future fate of Xiangyun and Baoyu may be hidden in this golden unicorn opposite yin and yang. (Some people believe that after the family's defeat, Baoyu Xiangyun married and felt sorry for each other, and some believed that Li Zhai was Xiangyun.) ）
In the Red Chamber of Tongbu, the most illusory "yin and yang" and "qi" theory is the too illusory realm (let alone "too vain is qi"). "Too unreal", as the name suggests, is to blur the specific space in the original real life, in order to express its illusory space characteristics. Cao Gong specially placed it in the dreams of the characters in the book (Baoyu, Shiyin), and before Baoyu officially entered this place of drinking and dreaming, he laid a dreamlike female living room in advance as a precursor to leading Baoyu into his dream.
Before Ke Qing introduced the dream, a sweet fragrance brought inspiration to the sense of smell (the female symbol of the Red Chamber is the fragrance of poetry and wine and tea), and the illusion and the fairy goddesses were located in the hateful heavens, the Spring Mountain in the Sea of Sorrow, and the Xiangxiang Cave, in fact, it was the actual situation of Gathering with Jia Mu and the women in the Dongfu Garden to admire the plums, forming a mirror space of yin and yang.
The hostess of dongfu garden is Keqing. The police sent Baoyu into the Xiang Bouquet Embroidery Pavilion, during which there was already a Xian Ji included, and her name was also called Ke Qing. These two Keqing are also yin and yang opposite, just like the mirror outside the mirror to look at each other, one is in the plum garden with the attendants, and the other has entered Baoyu's soul dream, leading him to understand.
When Bao Yu first saw Ke Qing in his dream, what he thought in his heart was:
Its bright and feminine is like Baochao, and Yuanna is as graceful as Daiyu.
It can be seen that the narrative situation of the Red Chamber, with the dualistic and unified thinking mode of yin and yang everywhere, not only opens up the two major categories of spatial discourse, but also forms an artistic expression of yin and yang jagged contrast in the portrayal of character images.
Cao Gong compared Ke Qing in his dreams with Qiao and Dai. In fact, Baochao and Daiyu are another set of artistic images of yin and yang, and then the eighth lipid commentary "Qing has a forest wind, attack is a vice" derived from this concept, then Qingwen and Daiyu, Attacking People and Baochao, and each forming an endless yin and yang character artistic creation theory.
On top of Ke Qing, Bao Chao and Dai Yu were created, and continued to develop on the basis of each of them, deriving the attacking people, musk moon, Qingwen, Ling Guan, and characters of intermediate colors, such as Xiang Yun, Xiang Ling, etc., and each narrative was ultimately knotted on Bao Yu's body (like the pomegranate flower that leads to the "yin and yang" theory "the building up the building").
Cao Gong wrote in the style of yin and yang and pavilion, creating a variety of complex character situations, forming an important technique that cannot be ignored in the Red Chamber. Its ideological basis is still in the principle of simplicity, change and difficulty.
When we returned to the Ningguo Mansion on earth, Bao Yu entered Keqing's bedroom and looked up at the wall, and saw Tang Bohu's "Spring Sleep Diagram of Begonias", which was flanked by a couplet written by Song Scholar Qin Taixu (Qin Guan):
Tender cold lock dream because of the cold spring, aromatic attack is the aroma of wine. (Wonderful!) Use too much fiction to lead out the attacker)
There are also other objects on the case: treasure mirrors, gold plates, papayas, treasure beds, beaded tents, yarns, mandarin pillows, etc., which are "real writing" for visual and tactile senses. However, the associated characters: paintings by Tang Bohu, couplets written by Qin Guan, and a series of women such as Wu Zetian, Zhao Feiyan, Yang Taizhen, Princess Shouchang, Princess Tongchang, Xi Shi, and Hong Niang, all allude to the cause of Keqing's death, that is, the text "Qin Keqing's Obscene Funeral TianxiangLou" deleted by Qinxi.
The actual writing and fiction in this bedroom constitute the interdependence, transformation, and dissipation of yin and yang, and there is a relationship of interdependence and mutual transformation. That is, there is yang in yin, and there is yin in yang, because of each other's dissipation, yin and yang can change many phenomena of alternating virtual reality and mutual end cycle, which confirms the couplet on the stone arch of the fifth time of the Red Chamber:
When it is true, it is true and false, and there is nowhere and there is nothing.
Mentioning the word true and false, it is not difficult to remind people of another pair of looming "yin and yang" mirror characters in the General Department book - Zhen Baoyu and Jia Baoyu.
Zhen Baoyu's appearance reveals a mysterious reason. He is not like the carp essence ——— the fish beauty in the folk tale, simply just want to get a love of his own; nor is he like the Li ghost in the Water Margin, who only learned a little fur and relied on Li Kui's name to try to occupy the mountain as the king; nor was the six-eared macaque monkey in the Journey to the West suffering from paranoia, hoping that he would take away all the sutra work alone to gain the benefits of the present world.
The appearance of Zhen Baoyu was not simply to seek the worldly merit, and the decline of the Zhen family's family was to arouse his will to work hard (it was a late rise) [Editor's Note: After eighty times]. His surname is "Zhen", which is to deliberately emphasize his own authenticity, that is, he will replace the illusory and unreal Jia (fake) Baoyu, occupy his soul, and seek a life that originally belonged to Jia Baoyu.
In the fifty-sixth time of the novel, all the grandmothers of the Zhen family can witness that Zhen Baoyu's appearance, age, family lineage, personality, and even sexual orientation are the same as Jia Baoyu!
Zhen Baoyu in the dream made Jia Baoyu how to see clearly and think through, and after eighty times, the sequel let Zhen Baoyu walk from Jia Baoyu's dream to the real scene, at this time Jia Baoyu finally saw Zhen Baoyu, thinking back to the scene in the dream, he thought that Zhen Baoyu must be in the same heart with him, so he thought that he was a confidant. However, Zhen Baoyu actually had the idea of running counter to Jia Baoyu and talked about the economics of Shitu. Through Zhen Baoyu's choice, the sequel highlights that Jia Baoyu's lifelong decision is a decision that no one can hurt. [Editor's Note: After Eighty Times]
As early as the twenty-first time in the Red Chamber:
Baoyu has this world can not bear to be poisoned, so the later Wen Fang has a "cliff to give up" once, if others get Baochao's wife, musk moon's wife, how can they abandon and become monks?
Baoyu's cliff-laying and becoming a monk had already laid the groundwork, but in Zhen Baoyu's enthusiastic remarks, his determination was contrasted. After this feast, the two treasure jades have already chosen different paths in their lives. [Editor's Note: After Eighty Times] and so-called:
Easy to have tai chi, is to give birth to two instruments, two instruments to give birth to four elephants, four elephants to give birth to bagua.
Among them, the "two instruments" are to use yin and yang to explain the oppositeity of all things between heaven and earth. However, there is integration in opposites, so yin and yang are not one-sided concepts, but yang in yin, yin and yang, and while opposing each other, there is a relationship between growth and transformation.
"All things bear yin and embrace yang", that is, the lonely yin is not born, and the only yang is not long. Zhen Baoyu's image and thought are not only born from Jia Baoyu, but also gradually opposed to Jia Baoyu's outlook on life on the road of his growth and development, so the author's creative theory and Yi Li do not need to be separated [Editor's Note: After eighty times].
The theory of yin and yang is the essence of ancient Chinese philosophy, which is both the key to solving natural attributes and the key to solving humanistic attributes. The author's brief discussion today is that Xiangyun and Ya Gui Cuiyi began to explain the attributes of nature, derived from the text and the character image, and its purpose is only to throw bricks and lead jade. However, there are still many "back powder" in the text, grass snake gray line brush strokes, non-experts can not do it.
(In fact, the opening chapter of the Book of the Red Chamber says that Nüwa refines stones to make up for the heavens, which has a deep yin and yang connotation - Fuxi Nüwa Tu, the author is here for fear of going astray and will not repeat it.) I hope to have the opportunity to express my personal views in the future)
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