In my opinion, this Clew of Ariadne in the author's hand is a metaphor in Chinese and Western poetry. Of course, this is meant to be metaphor in the broad sense. Metaphor is often expressed through allusion, and it is not only a word or an image, but also a habit of speech and a way of expression that unites the rich connotations of culture and literature. Generally speaking, the use of allusion is the most common type of metaphor. There is an interactive relationship between the use of allusion and the expression of theme. Sometimes, allusion implies the theme and is the potential form of the theme, while the theme is the dispersion of the allusion or the sublimation of the cohesion. Undoubtedly, the maze and the labyrinth are the two most important metaphors of allusion throughout the book, and this is the purpose of the detailed dissection and analysis of these two allusions above. Yuwen Shoan not only uses these two metaphors as metaphors for the central thesis of the book, but also sets up the structural framework of the book after these two metaphorical images. This labyrinth or maze is like a museum, in which rare works of various countries and generations are displayed, from "The Iliad" and "The Stranger" to Bai Juyi, Su Dongpo, Rilke and Neruda, from "Zhuangzi" and "The Book of Rites" to Kant and Nietzsche, which are displayed in front of the book in a colorful and dazzling manner. In the course of his exposition, the author is sometimes like a tour guide or a museum interpreter, and sometimes like a contemporary Theseus. He guides the readers to visit this labyrinth or labyrinth, and he leads us through the corridors of Chinese and foreign poetics, ancient and modern. He walks in circles, changing the scenery from one step to the next. He talks about it as if it were his own. Regardless of ancient and contemporary, East and West, these manifestations of emotional desire have their similarities and similarities, through the intricate surface, he makes us see the **** the same emotional structure: seduction and rejection, like pushing still on; hope and disappointment, like joy and sadness; exposure and cover, want to open still closed; alternative and escape, like to go back and forth, like a labyrinth or labyrinthine building, the height of the maze, back and forth and twisting and turning, so that people are lost in a trance, but also It is like a labyrinth or a labyrinthine building, high and low, twisting and turning, making people lost in a trance, and yet unforgettable. The citation is rich and broad, as if pointing out the door and wall of the palace; in and out of the Chinese, Western, ancient and modern, as if crossing thousands of doors; in short, this is an original comparative poetics treatise, but also an exquisite maze of poetic mazes and labyrinths.
Anciently, people used to call palaces that had complicated paths and were difficult to find the way out. Legend has it that there were
four labyrinths: the Cretan labyrinth; the Egyptian labyrinth, with 3,000 chambers; the Samos labyrinth, built on the orders of Polycrates; and the Italian labyrinth, which was presumably a mausoleum for the king of the Etruscan pallium, Posena
. Among them, the labyrinth in Crete is the most famous. Legend has it that the wife of the bombastic Minos of the island of No Crete and a male
cow gave birth to a half-bull, half-human monster Minotaur, in order to cover up the ugly, the king ordered the famous ancient Greek pallidorium architects, ingenious
smith Daedalus to build this labyrinth. This labyrinth structure is extremely spring complex, ingenious, there are many entrances and exits of the dining hall,
The pathway is intricate and twisted. In modern Chinese the word Labyrintn is not only for the rugged construction of the labyrinth,
but also for the intricacies of the thing.
Scientists generally believe that a labyrinth is such a place: a curved passage, separated by a wall. People performed rituals, dances and shows here. The earliest labyrinth we know of, much later than the mythical one, was built in the Mycenaean period in about 1600 B.C. in a royal palace in the Cretan capital. It resembles a 12th century B.C. labyrinth painted on clay tablets found in Pylos, Greece.
The story of the clay tablet goes like this: behind the door of a royal palace in the city of Troy sat a courtier. His task was to register on the clay tablet the number of goats paid by his subjects and the names of the contributors. When the tribute payers left, he had nothing else to do, so he turned the clay tablet over and sketched a labyrinth on it. It was this piece of clay board lying in the ground for about 3200 years, but miraculously preserved intact to this day.
People believe that the walls of the labyrinth have magical powers: in the labyrinth around, can bring a good harvest to the field, no children can give birth to a child, in short, can be accomplished, so in the past, people often in the labyrinth to hold a coming-of-age ceremony. Some people even believe that the labyrinth has the magic power to help childbirth, for example, in some places in northern India, people painted with a labyrinth of bronze plate with water for women in labor to drink. This custom survived into the 18th and 19th centuries.
Archaeologists in Scandinavia found a labyrinth made of stone as tall as a man, named the "Fortress of Troy". An ingenious path leads to a central square. There a girl waits for her beloved, who dances his way through the intricate paths to the girl.
The magic of the labyrinth seemed to weaken during the Trojan War in the 12th century B.C., when many peoples invaded Mycenaean Greece, cities and castles were destroyed, traditions were lost.
But the neglect of tradition did not diminish interest in the labyrinth. During the first millennium B.C., this interest expanded, spreading from the Mediterranean to Syria and on to the countries of the East - today's Afghanistan, India, Sri Lanka and Indonesia. It soon spread again in the West: to Spain, Britain, Scandinavia and Rus.
By the Roman period, labyrinth motifs were the decorative choice. In the mansions of the nobility, front rooms and dining rooms were decorated with labyrinth appliqué patterns. At the center of these geometric motifs were usually scenes from ancient mythology: Theseus and the slain Minotaur. People at the time seemed more concerned with the form of the motifs than with the faults of their "labyrinths," which could neither be entered nor exited.
In the Christian era, the sacred power of the labyrinth returned. The whole of human life is a labyrinth, and at the center of this labyrinth are the turning points of life. Only through the difficult and winding path of pilgrimage can one say goodbye to a life of sin and reach the center of the labyrinth, where the purpose of life is found.
The shape of the labyrinth was varied in the small motifs used to decorate manuscripts in the early Middle Ages, when the priest Otfried Weishebourgsky had the lines that made up the labyrinth motifs formed into a Christian cross, which resulted in a variety of Gothic labyrinths. The motifs of these labyrinths were often used to decorate the entrances to cathedrals. For example, Chartres Cathedral qualifies as a labyrinth. To get into the center of the church, you have to make 28 turns - the same number of days as the lunar month of Tai Yin.
Medieval England was popular for lawn labyrinths, which are lawns planted in the style of a maze. It's not hard to imagine what a pattern it was. Young people loved to walk here; craftsmen's guilds would hold festivals here; and citizens often came here for religious celebrations. To this day there are dozens of these labyrinths for tourists to visit. One very old labyrinth has survived in South Wales, dating back to 1800.
There are three similar labyrinths in Germany: one in Hanover called "The Wheel". Two others were built by Swedish soldiers during the Thirty Years' War (1618-1648), one north of Naumburg, called the "Swedish Wheel", and one in Gretchen, called the "Swedish Mowing Ground".
There are more than 500 ancient labyrinths in Scandinavia, the Baltics and Russia. These labyrinths are built of small round stones and boulders and are called "Trojan Fortresses" in the north. Most of the labyrinths vary from 7 to 18 meters in diameter, and many of them are Cretan labyrinths with only one entrance, while only a few Baltic labyrinths have two entrances. All of these labyrinths were built between the 13th and 17th centuries, judging by the lichens covering the stones. Their use is still unknown, perhaps for rituals, perhaps not. Because by then Europe had entered the Renaissance, and people had become masters of their own destiny and found a way to save themselves.
/academic/ccs/duihua15%2Dmilou%2Ehtm&p=9d6ecb16d9c04af919bd9b7f0b509f&user=baidu