There must always be a theme in people's lives, so that your soul dreams are tied to it. ——Wang Xiaobo
Continuing from the previous section, the carnival of the absurd world - the Dionysian spirit of "The Golden Age" and the shortcomings of psychological compensation theory (II).
How did tragedy come about? Let's first understand a concept: Satile. Satilee was the singer and dancer of the ancient Dionysian festival, and it was on this basis that tragedy arose after forming a song team. The most crucial point is that the tragedy of the Dionysian Festival does not reflect reality like a modern film and television drama, but closely follows the theme of Dionysus, the god of wine, by showing the tragic mother Semeles, the resurrection of the dead, the juvenile canonization of the carnival god, the broken corpse and other mythological content, especially the death of the god, to show the enthusiasm, freedom and pain of the spirit he represents, in the words of Schiller: "The song team is a living barrier, and the tragedy uses it to surround itself, in order to isolate the real world, in order to preserve its ideal field and the freedom of poetry." ＂
The 1887 painting by the Anglo-Gu painter Lawrence Alma Tadema, The Woman of Amfisa, shows a woman waking up on the street at the Dionysian festival
Satile's performance is not simply "art comes from life and is higher than life", but carefully, as far as possible to copy the mythological content, situation, and spirit, the more the myth is true, the stronger the audience's sense of substitution, up and down interaction, the more likely the emotions of the actors and the audience are to go crazy and out of control, human nature is more free and closer to nudity at this time, and all the attachments of civilized society are washed clean. Nietzsche shares the view of Schiller when he says, "Satilee is the nature of mankind, the embodiment of the highest and strongest passion of man, the drunkard who is blissfully oblivious because of his proximity to the gods, the companion who shares happiness and suffering with the gods, the prophet of the wisdom of the cathartic spirit, and the symbol of the universal love of nature." ...... Here, the nature of mankind has been washed away from the lead of civilization; here, the real man, Satile, reveals his true colors and rejoices with the gods. (The Birth of Tragedy, Chapter VIII) "It seems that the author's formulation of Satilee has not deviated.
Satilee's human nature, stripped of the thick cloak of civilization wrapped in human beings, is the release and unrestrained of the soul, and directly expresses the most primitive lust, which is also the part of human nature that is repressed, deprived, overcome, and distorted, thus gaining the universal response and resonance of the audience. Satile played the god, the god of revelry, they really regarded themselves as gods, with all the majesty and power of the gods, the birth of tragedy chapter seven: "The Greek song team had to treat the stage image as a real person, and the song team who played the daughter of the sea god really believed that they saw Prometheus with their own eyes and thought that they were the true gods in the play." "Satilee put himself into the system of god, and the worshipper puts himself into Satyr, and the replacement of identity immerses people in the world of drunkenness, the world of Mount Alpis, the world of freedom, so that night falls, and a pair of free men burrow into the valley and into the dense forest...
The same is true when we look at The Golden Age. "She squeezed me a few times, and then said, 'Not here, let's go up the mountain.' "That night I lured Chen Qingyang and me to the mountains, and that night there was moonlight at the beginning, and then the moon fell, and out of the stars of the day, as much as the dew in the morning. There was no wind that night and the mountains were very quiet. Chen Qingyang said that this time she was lying in the cold rain, and suddenly felt that every pore had entered the cold rain. She felt sorrow coming from it, and she could not break it. Suddenly, a huge wave of pleasure came in. Cold fog, rain, all poured into her body. ”...... Regardless of form or content, the novel creates the fairy tale atmosphere of the ancients of "Sangma Pushang" and "Running People Can't Help", which of course is similar to the carnival scene of the ancient Greek Dionysian Festival, indicating that the sex of "Golden Age" is not due to sexual writing, but has its historical logic, this argument I have not seen a second person touch.
Wang Xiaobo's "Golden Age" drama, Chen Qingyang was beaten scene
There is a saying in the Bible: "When God closes this door, he will open another door for you." "Human nature is suppressed and distorted in the current world, he must find a flood, find himself in another world, get spiritual comfort, give himself a reason to exist or survive, this is why the sex of "Golden Age" is so inflated and enthusiastic, and the psychological perspective is really a psychological compensation mechanism. Perhaps it is the existence of this psychological compensation mechanism that can save individuals from destruction in the situation of "hardship and bitterness, frost and sideburns, and the pouring down of the newly stopped cloudy wine cup (Tang Du Fu's "Ascension"). In the ninth chapter, the two went out of the fight, "After arriving at the field, I simply carried her back to the guest house and slowly untied her under the electric lamp." At this time, Chen Qingyang had a smirk on his face and said, "Dun Great Friendship Okay?" I can't wait'! We can say that this is her rebellion against the absurd world, or it can be said to be a dismissive attitude, but it is more likely a psychological balancing technique, both to divert and dilute the attention to pain. The Romance of the Three Kingdoms says that Hua Tuo scraped Guan Yu's bones to cure poison, and the other arm played against Ma Liang, calmly and calmly. The Chronicle of the Three Kingdoms also contains: Yu tasted the middle of the flow arrow, through his right arm, and although the wound healed, every time it rained, the bones often hurt. The doctor said: "The arrow is poisonous, the poison enters the bone, when the broken arm is wounded, the bone is scraped to remove the poison, and then the disease is removed from the ear." Yu Ben stretched out his arm and ordered the doctor to split it. Shi Yushi asked the generals to eat oppositely, the blood in their arms flowed away, and they were on the plate, while Yu Cut and introduced the wine, smiling freely. - The purpose of playing against each other or cutting and attracting wine is to divert the attention of pain.
Wang and Chen's fanatical sex is also a shift in attention to pain and trauma, and self-help and self-rescue from the perspective of psychology are a self-protection mechanism and psychological compensation mechanism. In fact, the author uses this to commemorate the great souls who have passed away in that unfortunate era, as I said earlier, it is a tribute and lament to the souls who have been persecuted to death. In chapter 10, the author borrows the mouth of the heroine to remind people who are on the cusp of the storm: "Chen Qingyang said that people live in the world in order to endure destruction until they die. Thinking about this, everything can be calmly handled. ”
The author believes that the current psychological community's discussion of the psychological compensation mechanism is limited to the inferiority of individuals, which is general and narrow-minded. Taking the two typical examples of Wang and Chen in the "Golden Age" as an example, which angle and which aspect reflects their inferiority? Throughout the whole text, its psychological characteristics are not only not inferiority, but the opposite self-confidence and self-improvement, otherwise the novel's resistance to the absurd world cannot be discussed. The inferiority complex of psychological compensation obviously has certain flaws, and the author believes that it is necessary to introduce the concept of "adaptation" in the field of industrial control into the theory of psychological compensation. What is adaptive? Chekhov's novel "Chameleon" you may not be unfamiliar, the chameleon of the animal kingdom is called avoidance, is a kind of lizard, the skin color can change with the change of the environment, this is adaptive, is a protection mechanism. In the field of industrial control, the program obtains information through the feedback system and tends to its own goal according to the principle of optimality according to parameter requirements, boundary conditions, and data ranges, which is the adaptive of industrial automation. It seems that human beings need to learn a lot from the natural world.
Chameleons are mainly distributed in Africa and are typical animals that exhibit adaptive abilities
Adaptive is aimed at self-regulation, wang, Chen and the sex world, in the face of the real world inflicted pain and mental torture, the so-called you about the doorway, I have the method of jumping the wall, Qiankun big move, remove the pain of this shore, paddle my life boat, to pick the small flowers on the other side. This case shows that this behavior has nothing to do with inferiority, it is obviously a psychological compensation in the work, and the psychological compensation mechanism here cannot be explained by psychological inferiority, which shows the narrowness and one-sidedness of the theory. Here, the author further analyzes and discusses the psychological compensation mechanism, and divides it into positive psychological compensation and negative psychological compensation.
In "The Golden Age", the male protagonist Wang Er basically lived in the cracks of society, passively beaten everywhere, only because the captain suspected that the left eye of the dog was blinded by him, "so in the spring I went to plant seedlings, poking in the ground like a half-cut telephone pole, after the autumn harvest I went to herd cattle, I could not eat hot food." "In the end, he was also beaten into the hospital. Just because he got what the military deputies did not get, he was judged to be "very angry that I broke my shoes, and if I don't give an account, I will mobilize the masses against me." He also said that my behavior was enough for the bad guys and that I should be subject to dictatorship. (Chapter 4) "Only because the two fled to the mountain," the man said, the problem is clear, you are ready to write materials. Later, it suddenly became serious again, and we suspected that we had gone abroad, colluded with hostile forces, and returned on a mission. (Chapter 6) "The shackles of the law, the oppression of classes, the destruction of the flesh, life sometimes has to face pain and psychological trauma, some grievances, may make you unable to defend; some pain, may make you feel like a needle felt." The action taken by Wang and Chen was a direct response to pain and unbearableness, "In the farm, every time the struggle is over, Chen Qingyang will ask for Dun's great friendship." (Chapter 10) "The author refers to this active behavior as positive psychological compensation behavior, or active psychological compensation mechanism.
In 1981, Yan Shunkai starred in the movie "A Q Zheng Biography"
Cases of negative psychological compensation mechanisms are not difficult to find, typical of which is Ah Q's spiritual victory method. Lu Xun's "Ah Q Zheng Biography Chapter 2 : The Strategy of Victory": "Therefore, almost all the people who joke with Ah Q know that he has this kind of spiritual victory method. "In the same chapter," Ah Q was defeated in form, he was grabbed by someone with yellow braids, he bumped his head on the wall four or five times, and the idler left satisfied with victory, ah Q stood for a moment, thinking in his heart, 'I was finally beaten by my son, and the world is really not the same now... So he left contentedly and victoriously. "Around the spirit of Ah Q, the commentators are the same spiritual victory and self-comfort, in fact, Ah Q's performance reflects the tragedy of human existence, the tragedy of life, and the self-perfunctory of mental trauma. Take the case of bullying a little nun, you wait for a big stroke of the pen, saying that he is afraid of weakness and fear of hardness in his bones, the author wants to express heartfelt disdain for this pale argument of you, the real society is smeared with sorrow in his world, he needs to find self-confidence, find himself, find his reason for survival and survival from the same type of person who belongs to the bottom, the logic behind it reflects the pouring of the world and the evil of society, which is the sadness of a small person at the bottom of the old society. In the eyes of the world, he is nothing more than a jumping grasshopper, a dancing fly, as small as dust and as cheap as an ant. Ah Q's victory method is the adaptation of the individual, the negative psychological compensation mechanism is the work, and the individual's self-repair and self-bandaging of pain and psychological trauma. In "The True Biography of Ah Q", what the author sees is not arrogance and self-contempt, but full of compassion and desolation. The author would like to emphasize that you have underestimated Lu Xun's literary profundity, "ghost foxes have character, laughter and scolding into articles", this is Lao She's evaluation of "Liaozhai Zhiyi", in fact, it can be used to evaluate Lu Xun's literature, you must know - laughter is tearful laughter, scolding is cynical scolding, in addition to this, do not easily evaluate Lu Xun.
Ah Q's method of spiritual victory applies to the theory of psychological compensation on inferiority, and critics should pay attention to the social roots of this inferiority, as well as the strength, breadth and depth of the creator's exposure and lashing of darkness, and should not be anything else, which will not be discussed here.
For the ancient Greek society Dionysus worship activities, Nietzsche is based on the principles of nature, the perspective of art, aesthetic taste to look at, he shows the spirit of the carnival displayed by the Dionysus Festival for me to elevate to the theoretical height, called the Spirit of Dionysus, it can be said that the spirit of Dionysus is not only a sexual flamboyant. Although the representative of the spirit of the sun god is the plastic art, the representative of the spirit of Dionysus is the art of music, and Nietzsche also emphasizes the connection between music and tragedy, but looking at Nietzsche's thought, the dionysian spirit reality and the will to power are the same structure, aiming to shape the independent and autonomous personality quality of the individual, so it constitutes an important part of Nietzsche's independent philosophy.
Since music is a Dionysian art, let's see how Nietzsche evaluates music. Chapter 16 of The Birth of Tragedy: "The difference between music and other arts is that music is not a reproduction of phenomena, or more correctly, it is not an appropriate objectification of the will, but a direct portrayal of the will itself, so that it is supernatural to all natural things in the universe and to all phenomena itself." "The author's understanding is that music is used to annotate the self-body of things, and things are self-contained. Relative to the dionysian spiritual subject, it is human nature, personality, nature, and self. Music exalts individuality and preaches freedom, so that "according to Schopenhauer's theory, we can understand music as the direct language of the will." (Chapter 16) "By this point we have generally understood that music is the direct expression of the individual will, and that the Spirit of Dionysus is the spirit of the individual will, what kind of individual will?"
The spirit of the sun god, also known as the spirit of the dream god, according to the author's understanding, according to the dream to shape me, assume me, ideal me (an idealized expression of my), the spirit of the sun god is (the individual life) hope, ideal, dream, soul sustenance. Some people classify the spirit of the sun, the art of the sun god, and the impulse of the god of the sun as the spirit of reason, the art of reason, and the impulse of reason, and the author sees that Nietzsche is the enemy of reason all day long, how can reason be put on the table? This should be a misunderstanding.
And the spirit of Dionysus, the music between heaven and earth sounded, "attentive flowers join hands together, and drink more wine in the cup." (Song Ye Mengde", "Yu Meiren") "Drunk and greedy laughter, where do you have to worry about?" (Song Xin Abandoned Disease, "Xi Jiang Yue Shu Xing") "Dionysus represents the drunken me, the original me, because of "drunken vomiting truth", so it is the true me, because of the drunken fist so it is free, pointing to indulgence, bravery, truth, and even creation, and even strong will." We watch "Golden Age" everywhere towering male and female protagonists firm will and independent personality traits: you take me as a broken shoe, carefully criticize the fight, in my eyes is just a drama, "people want her to do everything she does, the rest of the things have nothing to do with her." That's how she played the broken shoe on stage. (Chapter 9) "Whether bound or unbound is not a commendable thing, but the heroine can dissolve this pain with poetic vision and strong will," the rope was tied to her like a tight suit. At this time, the curves of her body were exposed. At that moment she felt like a gift box, unpacking. (Chapter 9) "If this is a kind of pain, can it be called poetic pain?" Perhaps it is precisely because of the refinement of suffering that life is closer to perfection, Nietzsche said: "In extreme pain, a soul will emit a new radiance of life in order to bear this pain." The ubiquitous sex of Wang and Chen all shows their independent personality spirit and the depth in which "the perceived principle of individuation" can be overcome." (Michael Tanner, Nietzsche"
Wang Xiaobo is no different from Nietzsche's social environment, barbaric, ignorant, dark, and obscene, although their experiences are different, their admiration and pursuit of the strong will of the individual are the same, except that one person's position is philosophy, and one person's position is fiction. Zhu Guangqian's "Psychology of Tragedy" has a saying: "What is important to tragedy is not only great pain, but the way of dealing with pain." There is no resistance to disaster, that is, there is no tragedy. What causes us pleasure is not disaster, but resistance. Therefore, the great success of "Golden Age" is not due to the author's brushstrokes going deep into human privacy and describing sex, but the work uses sex as one of the means to show the strong will and spirit of resistance to pain, which is the immortality of the classics.
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