Literary Newspaper · Read at night at the moment
Last year, Li Shuo, a historian who is well-known for his work on "Three Hundred Years of the Civil War", "The Great History of Confucius" and "The Merchants", posted a sick message in the circle of friends and received attention from all walks of life. These texts focus on multiple periods, not limited to the study of one time and one place, but also in the Eastern Jin Dynasty, Jiangnan, Lixian in North China, Luoyang in the Northern Wei Dynasty, Guanzhong in the Ancient Dynasty, Yumen Guanwai, Inner Mongolia, Xinjiang, Tibet, and even Britain in the Hobbesian era.
Shanghai People's Publishing House
In this recently released anthology entitled The Wanderer of History, he uses 12 guides to tell the story of his academic journey and his ups and downs. Li Shuo, who is persistent, temperamental, lonely, and not academic, has his own persistence, he said: "The journey of solitude never ends, but people will eventually encounter a place that suits them." ”
He also hopes that this book can provide a lifelong learning and interdisciplinary thinking for young students today, and he recalls that when he was in college, teachers reminded students to spend more time reading the original texts, and students often wondered that the original texts have been published for hundreds or thousands of years, and countless people have studied them, and they can't read new ideas or even read them again. Many years later, Li Shuo really felt that "people have to combine their own experience and cognition to read." Everyone has their own unique growth experience and experience, and each generation also has its own new life and new environment, which are all new 'perspectives' for us to read ancient books, just like looking at a mountain, 'different heights and heights', people's position has changed, the perspective has changed, and we can naturally see different scenes. This is the root of the study of literature and history. ”
Reading tonight brings his discoveries after reading "Dream of Red Mansions".
Selected readings
The achievement of "Dream of Red Mansions" using scene transition techniques
"Dream of Red Mansions" attaches great importance to the transition of scenes from the beginning of the story. For example, the basic plot from the first to the third chapter: Zhen Shiyin went to Jiayu Village in Zhouji, Zhen Shiyin lost his daughter, the whole family defected to his father-in-law, Zhen's maid was seen by Jia Yucun, who came to be an official, and married as a concubine, Jia Yucun dismissed the official, traveled to Yangzhou, worked as a tutor for Lin Daiyu, and accompanied Lin Daiyu to Beijing to Rongguo Mansion...... This part first writes about Zhen Shiyin, in which Jia Yucun how to enter Beijing to catch the exam and become an official after getting Zhou Ji, did not use the method of scene jumping, but only added an explanation after marrying the maid of the Zhen family, and began to "take off" from the Zhen family to Jia Yucun. Jia Yucun accompanied Lin Daiyu into Jiafu, and the novel did not mention Yucun, only wrote about Daiyu's experience, which was another escape.
▲ True Hidden Luo Illusion Psychic Qing Sun Wen Painting (the same below)
The beginning of "Dream of Red Mansions" is a brief story, with thick narrative lines, and the narrative method is basically similar to "Water Margin" and "Qiaolian Zhu". What really reflects the wonderful use of the transition scenes of "Dream of Red Mansions" is the subsequent description of the life scenes in Jiafu. There is a very interesting phenomenon here, that is, in the first five episodes, the author used Leng Zixing's speech and Lin Daiyu's first entry into Rongguo Mansion to outline the situation in Jiafu twice, and when he really wanted to write about the details of Jiafu's life, he suddenly claimed that he was very embarrassed. Sixth Cloud:
According to the total number of people in the Rong Mansion, although the population is not large, there are three or four hundred ding from top to bottom; Although there are not many things, there are 10 or 20 things a day, and they are like a mess, and there is no clue to make a program. I was thinking about writing Fang Miao from that person from that one thing, and it happened to be thousands of miles away, the mustard beans were slight, and a small family, because of a little bit of something to do with the Rong Mansion, was coming to the Rong Mansion this day, so it was a clue about this family. Who is the name of this family, and what does it have to do with the Rong Mansion? Let's listen to the details. The small family that Fang just mentioned is a local name, surnamed Wang......
There are many people and things in Jiafu's house, but according to the writing method that does not pay attention to the transition of the scene, it is not difficult, as long as you finish writing one place and one thing, and then "don't mention it and say" You can write another place and one thing. Western and modern and contemporary writers are simpler, they don't even need to "say it without mentioning it", they can just start a new paragraph. But the author who pays attention to scene transitions is different, he has to narrate in a strict order of time and space, and the scene can't jump around. Therefore, after the author was embarrassed, he chose to use the little character of Grandma Liu as the "clue", so that readers could see the life of Jiafu "in one shot".
▲ Zhou Rui sent the sisters palace flowers
In the sixth chapter, I wrote that Grandma Liu was taken by the "Zhou Rui's family" and "played the autumn wind" to Wang Xifeng in Rongfu. After Grandma Liu left, Zhou Rui's family had to report the reception of Grandma Liu to Mrs. Wang, because Grandma Liu was the death of Mrs. Wang's mother's family. At the beginning of the seventh round, Zhou Rui's family went to Mrs. Wang's room, but Mrs. Wang had already gone to the Lixiangyuan where her sister, Aunt Xue, lived. So Zhou Rui's family found Lixiangyuan again, and reported to Mrs. Wang about the reception of Grandma Liu. This is still the aftermath of Grandma Liu's affair. But at this time, Aunt Xue took the opportunity to ask Zhou Rui's family to bring a few palace flowers back to the ladies of Rongfu on the way. Zhou Rui's family took the palace flowers, and successively went to the rooms of "Sanchun", Xifeng, Daiyu and others, and sent palace flowers. The section of sending palace flowers is the official beginning of the novel to describe the daily life of Rongfu. On the surface, it is about Zhou Rui's family sending flowers door-to-door, but in fact, it uses her whereabouts as a clue to write the daily life scenes of the Xue family, "Sanchun", Xifeng, Daiyu, Baoyu and others to the reader.
▲ Jia Baoyu is curious to recognize the golden lock, and Xue Baochai coincidentally recognizes psychic
The paragraph of "Sending Palace Flowers" borrows Zhou Rui's family to chat with Baochai, writing about Baochai's gentleness, simplicity and eating "cold incense pills"; Through the dialogue with Jin Chu'er, it was written that Xiangling is Yinglian, the daughter of Zhen Shiyin in the previous text; borrowed the joke between Xichun and Zhou Rui's family that he would cut his hair and become a nun in the future, and wrote that he was a good Buddha who cherished spring; When he arrived in Xifeng's courtyard, he saw Feng'er fetching water and heard laughter, and secretly wrote Wang Xifeng's "Fengyue Incident" at noon; Zhou Rui's family finally found Baoyu and Daiyu to play together, and was ridiculed by Daiyu, and then wrote about Baodai's intimacy and Daiyu's pettiness...... Compared with the scene transition from A to B in the previous books and other books in this book, the amount of information displayed in this paragraph is several times larger, and the scene jumping is eliminated. After hesitating, the author chose to use Grandma Liu as the beginning of describing Jiafu, and the pride is also here. After this paragraph, Yan Zhai commented:
Yu read "send flowers" once, and Aunt Xue Yun "Bao girl doesn't like these flowers", which is said to be the true story of Bao Chai; and to Ah Feng and Xichun, it is known that it is Ah Feng's true biography; Now to the section of Feng'er, but the nature of Ah Feng is written from the bones, so I know that this is also the main biography of Feng'er. In the novel, there are two or three authors who write one stroke, and there are those who enlighten two or three things, and there is no such pen of Ganges sand!
The lipid review also points out that this is a conscious method of writing. In a section where Zhou Rui's family sent flowers to "Sanchun", Yan Zhai criticized: "Write it with the painter's three-five gathering method, and it is not rigid." "Gathering and scattering" is a layout technique of traditional landscape painting, that is, painting all the scenes that can only be seen from standing at several observation points into one picture, which destroys the proportion of the picture, but avoids splitting a complete scene into multiple independent pictures. Lipid commentary here uses it as a metaphor to describe the different scenes that the person has gone to in order by borrowing the transfer of a person's whereabouts. This also avoids the stiff transformation of the author's descriptions of each scene, "Fang is not rigid".
▲ Jia Zheng ordered the concubine to save his relatives
After this paragraph, it is very common in "Dream of Red Mansions" to use the whereabouts of the characters to change the scene and take one shot to the end. Zhang Shijun's "The Spatial Narrative of 'Dream of Red Mansions'" Chapter 8 "The Sub-nodes of Activities: The Spatial Connection of Outsiders in and Out" has been exemplified in the second section of "The Connection of Attracting People". Here are a few more examples. For example, in the seventeenth and eighteenth episodes, Baoyu and Daiyu quarreled and gambled for a while over the purse, and after reconciliation, the two went to Mrs. Wang's room together and saw that Baochai was also here. At this time, Mrs. Wang's office was busy welcoming Yuanchun's relatives, discussing things such as settling Miaoyu and the little drama and nuns she bought. The author actually wrote about Bao Dai's vindictiveness, and then wrote about how Mrs. Wang prepared for the provincial affairs, and this scene transition was "brought" by Bao Dai and the others, so then-
Baochai said, "Let's not get in the way here, let's go to the girl." Saying that, he went to Yingchun and other rooms with Baoyu Daiyu to be idle and had nothing to say. Mrs. Wang waited for a busy day......
The author "unloaded" Bao, Hai, and Dai, and the narrative scene stayed in Mrs. Wang's upper room. For example, at the end of the third time, Daiyu went to Mrs. Wang's room to ask for peace, and Mrs. Wang was discussing with Wang Xifeng the lawsuit for Xue Pan to kill someone in Nanjing, and Daiyu's whereabouts here were purely for transition.
▲ Pick up her grandson Jia's mother and pity the orphan girl
Of course, "Dream of Red Mansions" does not fully follow this strict transition, and there are quite a few scene jumps in the "don't mention it" mode of "don't mention it". However, behind the scene jumps in "Dream of Red Mansions" with the oral tone of the storyteller, there is sometimes a deep meaning of pursuing the smoothness of the transition. For example, in the thirteenth chapter, Wang Xifeng was woken up in her sleep and heard that Qin Keqing was sick and died in Ningfu. But the novel jumped to Baoyu at this time:
There is little gossip, but Baoyu ...... Now that he heard from the dream that the Qin family was dead, he hurriedly turned over and got up, only to feel that he couldn't bear to be stabbed in his heart, and with a whoop sound, a mouthful of blood spurted out...... When I came to see Jia Mu, I had to go over immediately...... Until I arrived in front of Ningguo's mansion, I saw that the door of the mansion was open, and the lanterns on both sides shone like day, and people came and went, and the crying inside shook the mountains and shook the mountains......
▲ Wang Xifeng's dream meeting Qin Keqing Jia Baoyu cried bitterly and stopped the mourning room
Why does the author make the scene jump from Xifeng to Baoyu here? Baoyu's reaction after hearing about Qin's death is worth writing about, perhaps for a reason. But the more important reason is that the author will write about how Jia Zhen and Jia Rong in Ningfu arrange funerals, such as buying coffins and donating official titles. At that time, adult men and women did not ask questions inside and outside, and "officials and guests" and "cousins" had their own places. If the focus of the narrative follows Wang Xifeng, it will not be possible to write about how the men plan the funeral, and the scene will have to be changed again. Therefore, it is better to write that Baoyu met Jia Zhen in the past, and you can directly write the funeral scene. Later, Jia Zhen felt that there were many affairs, and listened to Baoyu's suggestion and asked Wang Xifeng to take care of the funeral:
(Jia Zhen) said that he pulled Baoyu, quit everyone, and went to the upper room. Coincidentally, this day is not a serious day, and there are few relatives and friends, but there are only a few close relatives and cousins, Mrs. Xing, Mrs. Wang, Sister Feng and the relatives in the family to sit together. Someone reported: "Uncle is in." The mothers-in-law snorted, and hid back, and Sister Dufeng stood up......
▲ Wang Xifeng assisted Ning Guofu
Since then, the novel has begun to write about how Wang Xifeng assisted Ning Guofu, which can be regarded as the transition of the narrative focus back to Wang Xifeng. "The mothers-in-law sighed, and they hid it in the future", which shows that the distinction between men and women was strict at that time.
Another point to explain is that the so-called "depharsis" in the lipid review is completely different from the meaning of "detaching" in Jin Shengsi. Zhang Shijun did not realize this, and she gave an example in her article "The Concept of Spatial Transformation in the Criticism of Ming and Qing Novels: Shedding":
The 16th chapter of "Dream of Red Mansions" wrote that Yuan Chun Jin sealed Fengzao Palace, and Jiafu rejoiced. Immediately afterwards, the text wrote that the intelligent monk of Shuiyuean fled into the city. Fat Yan Zhai said here: "Suddenly the water moon nunnery seems to be a big diarrhea, and after reading it, I know that it is tight." The "de-diarrhea" here is another expression of "de-elimination", and the meaning of the criticism is that the critics originally thought that the Jieshui Moon Nunnery was a big change in the plot, but after reading it, they realized that it was not a conversion, but the excitement of Jiafu.
Press, the "de-diarrhea" here is exactly the opposite of Jin Shengsi's "de-unloading", that is, the gratuitous jump of the scene. In the previous text of "Dream of Red Mansions", I was writing about how to celebrate in Jiafu, and suddenly the sentence "Who knew that recently, the intelligence of Shuiyue Nunnery fled into the city, and found Qin Zhong's house to look at Qin Zhong, but was not ...... by Qin Ye's perception" This is indeed a disorderly transformation of narrative space, so "it seems to be a great diarrhea", which violates the principle of transition. But the text of the novel only uses a few crosses to describe Qin Zhong's illness, and then writes how Jia Baoyu was in a daze after hearing Qin Zhong's news, and the scene returned to Jiafu, so the fat comment said, "I will know that it is tight until I read it." Of course, this "tightening" can also refer to the plot, that is, Qin Zhong's illness and death soon after. But no matter how you understand it, it has nothing to do with "getting off the hook". Also, the wisdom is a nun and not a monk.
The "diarrhoea" of Fat Yan Zhai is also expressed as "hair loss". For example, at the end of the twelfth chapter, the fat commented: "The one who sent Daiyu to go this time is also the next time Keer's article is ...... Because he must be sent, Fang Hao put a pen to write Qin (Keqing), and Fang does not lose his hair. "Alopecia" here is synonymous with "diarrhoea". Because if Daiyu was still in Jiafu when Qin Keqing died, then he would have to write about the funeral in Ningfu and Daiyu in Rongfu on the other, and it would be inevitable that the scene would jump (hair loss). In addition, Zhang Wen's fat comments, such as "a big plop in the twenty-fifth chapter, so that it is easy to take the following", "falling off" in the fiftieth chapter, "passing without a trace" in the nineteenth chapter, and "taking off" in the fifty-fourth chapter, are all ups and downs of the storyline, which have nothing to do with the transition of the narrative scene. Of course, Jin Shengsi's so-called detachment technique is used in "Dream of Red Mansions", but Fat Yan Zhai seems to prefer to call it "three or five gathering and dispersing" rather than "shedding". We can't just look at the literal similarity of these terms and assume that they are the same thing. Conversely, the same concept can also be expressed in completely different terms. This is something that modern researchers must pay attention to.
▲ The theme of the concubine's banquet is the Grand View Garden
Since "Dream of Red Mansions" strives to narrate in chronological order, it also faces the same problem as the previous "Water Margin", that is, how to introduce the story that takes place outside the narrative scene to the reader. "Dream of Red Mansions" also relies mainly on the dialogue of the characters in the book to solve this problem. Here is just one example. In the sixteenth chapter, it was written that Jiafu was going to build a provincial pro-courtyard and prepare for the provincial pro-Yuanchun pro-family. It's a big deal. In the book, Xifeng and Jia Lian first talked with their husbands and wives to write about Xiangling being accepted by Xue Pan; also borrowed Mama Zhao to speak and write the background of Yuanchun's provincial relatives; He also used Jia Qiang and Jia Rong to speak, writing about how Jiafu was preparing to build a provincial courtyard and how to prepare for purchasing. In Gengchen's current episode, Yan Zhai continuously uses the "refuge method" to remind this kind of writing:
Make up for the failure of the previous text, and write out Xiangling's body (world). …… A piece of pet text, partial to Ah Feng's mouth to make up, but also sharp (treacherous) cunning (illusory) wonderful. (p. 326)
A piece of Zhao Yu's begging for love and gossip leads to the context of Dao (this). The so-called from small to large, such as climbing to the height of the meaning of inferiority. Thinking carefully about the Grand View Garden, if you start from how to build it, and how to assign people to write the future from the beginning, thousands of details, how can you write it in one go? It will fall into the land of rigidity and poverty. Therefore, only Lian and Feng husband and wife are asked and answered, and Zhao Yu is used to ask for mercy, and Rong Qiang is used to say things for collection, and the rest of the essays are slightly dyed, and they are dazzling and penetrating. This is an evacuation method. (p. 330)
A big article in the Grand View Garden, with a lot of clues, where to start? Today, between Jia Lian's husband and wife's questions and answers, the audience has woken up for the most part. Later, it was rendered with Rong Qiang and the two of them, which saved a lot of redundant pen and ink. This is an evacuation method. (p. 331)
The old woman hooked out the provincial family affairs, and its thousands of threads, the tenon and tenon were coherent, and there was no trace. And so on, there are so many books that cannot be enumerated. (p. 332)
▲ Take a dragon boat to visit the Grand View Garden
Therefore, the "evacuation method" can also be seen as a by-product of the emphasis on scene transitions. However, the combination of the two methods of "liberation" and "refuge" has become much more than a simple transition. It can hide a large part of the content of the work in the dialogue of the characters, which requires the reader to carefully figure it out before it can be realized. There are many people who want to "Suo Yin" after reading "Dream of Red Mansions", but also because the author does not use subjective narration to explain the story, and the dialogues of the characters in the book may not represent the author's opinions, and readers can have their own understanding and play, which provides space for Suo Yin. This is a question of the artistic effect brought about by narrative techniques, which is limited by space and should be discussed in a separate article.
New Media Editor: Zheng Zhouming
Pictured: Ancient sources
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