Keywords
To write static with movement "lively" active freedom repression compensation
"Moonlight on a Lotus Pond" (hereinafter referred to as "Lotus") in front of the "elegant and tranquil (see "Teachers' Teaching Book (Humanistic Version of the Required 2)") "The second part of "Moonlight on a Lotus Pond" (hereinafter referred to as "Lotus") is ostensibly contradictory to the second part, which is "lively and elegant". Most of the commentators realize this, but they only focus on the "serenity" and "unsettledness", and wander between "joy" and "sadness". However, it only focuses on "serenity" and "un-serenity", and wanders between "joy" and "sadness", making superficial comments without in-depth analysis. According to the theory of "acceptance aesthetics", literary and artistic activities are the interactive process of writers, works and readers. The value and status of the work is the result of the writer's creative intention and the reader's acceptance of consciousness **** the same role. Literary and artistic works use "descriptive" language, containing many "uncertainties" and "meaning gaps", which constitute the "calling consciousness" of the work, calling the reader to accept the work. They constitute the "summoning consciousness" of the work, which calls the readers to utilize their imagination, to reconstruct and to recreate. The "summoning consciousness" of "Lotus" lies in the seemingly contradictory descriptions. The "gap of meaning" created by this contradiction is the key to the interpretation of The Lotus. Only by resolving and remedying this point can we have a deeper understanding of the theme conveyed by the Lotus.
In the last sentence of the sixth natural paragraph of the original text, the author said, "The most lively at this time of the year is the sound of cicadas in the trees and the frogs in the water; but the lively is theirs, I have nothing." This sentence is a transition sentence between the previous and the following parts, but also a key sentence to understand the inconsistency, and "lively" is the key word in the key sentence. Please note that the word "hilarious" appears four times in the text. In addition to the two occurrences here, the other two occurrences are in the third natural paragraph ("I love hilarity and calmness; I love to live in a group and I love to be alone") and in the seventh paragraph ("It was a season of hilarity, but also a season of flirtation"). These four occurrences of "hilarity" are so inadvertent that they have been overlooked by most commentators. The author's subconsciousness and the recurrence of "hilarity" imply that we should not take them lightly.
Borrowing a quote from Mr. Yao Minyong: "As soon as the ...... article was published, a reader immediately pointed out that cicadas do not chirp at night. Mr. Zhu Ziqing felt bad about himself and publicly stated that he would correct the article later when it was reprinted. We know that the text of 'Cicadas' was not modified later, because he asked experts for advice on the one hand, and personally observed in the field on moonlit nights on the other hand, and as a result verified that cicadas would chirp in the moonlight. This 'historical material' confirms that Mr. Zhu Ziqing's writing was entirely imaginary and fictional." If the sound of cicadas is fictitious, is the "bustle" fictitious? Why did Mr. Zhu Ziqing modify the fictional sound of cicadas with "lively"?
After describing the "fragrance of the lotus and moonlight", the author puts his foot on the "most lively" sounds of cicadas and frogs. With the author's "unquiet" mood, the sound of cicadas and frogs should have made the author feel annoyed. However, the author used a word opposite to "irritable" - "lively". Often we simply assume that "lively" is just a way of saying "irritable". Notice the word "most" before "hilarious". It is the word "most" that affirms the positive meaning of the word "lively", not "most irritable". Let's analyze it again. Is there a difference between "the liveliest at this time of the year" and "the liveliest at this time of the year"? Repeatedly taste will find that "the most" in this focus is not the degree of "lively", but more is to emphasize a tone of voice, the meaning of the coherence of the vein, emphasizing the sentence with the previous four, five, six natural paragraphs of the scene description in the "lively" connection. The connection between this sentence and the description of the scenery in the previous four, five and six natural paragraphs is emphasized in "lively". The fourth, fifth and sixth natural paragraphs are shrouded in a "bustling" atmosphere because of the "most". In the second paragraph, the author says, "But the bustle is theirs, and I have nothing", and the author is "saddened by the end of his happiness": in reality, there is "no bustle", and he can only enjoy the "moment" of "bustle" when he is alone. "The author is saddened by the fact that he can only enjoy a moment of solitude, but in reality it is not lively. So far we understand: "Cicada sound" is subjective imagination, "lively" should be the real state of mind of the author at that time, "Cicada sound" is "false", "lively" is "false", "lively" is "false", "lively" is "false", "lively" is "false", "lively" is "false", "lively" is "false", "lively" is "false". The first is that the "Cicada" is a "real writing", and the "bustle" is a "real writing".
How did the "lotus and moonlight" reflect the "bustle"? This is exactly what we have been interpreting the "blind spot". "Lotus and moonlight", just these four words give us a sense of "tranquility". Often we are influenced by this preconceived notion of "serenity", and then we take it for granted that "serenity" will be transplanted to the author's description of "the fragrance of the lotus and the moon". Thus, under our "biased" reading and interpretation, the serenity of the "Lotus and Moonlight" is exaggerated, which in turn obscures our vision. We are stuck in the "tranquility" and cannot go further. The author does not deny the objective serenity of the "lotus and moonlight", but as long as we analyze it in depth, we will find that the author's description does not focus on and highlight this "serenity". On the contrary, through a series of techniques to write out the "fragrance of the lotus moon" of the "lively" and "dynamic" to. Of course, the "bustle" here is different from the bustle in the general sense of hearing, but the "bustle" of silence. Mr. Qian Zhongshu said in the article of "Tong Sense", "Song people often put 'hilarious' to describe the realm of no 'sound', do not need to see too many strange." (2) and quoted Fan Chengda's "rowing on Yue Lai Creek on the second day after the beginning of autumn", "rowing into the noisy lotus without water, red lotus intoxicated white lotus sound" to illustrate the communication between the sense of sight and the sense of hearing, and this kind of "communication", Mr. Qian quoted "the six roots use each other" and "feelings", and "the six roots of feeling". This "communication" is further illustrated by Mr. Qian's references to "the mutual use of the six roots" and "the **** production of feelings" (see Guanjiajiuzhi, P1700, June 2002 edition of Sanlian Bookstore).
Ju Ziqing's "lotus pond" has a silent "bustle" flowing beneath its tranquil surface. Visually, there are "pavilion dancers' skirts", "freshly bathed beauties", and "craggy" "ghosts". "...... Auditory, there is a "distant high building of the faint singing", there is "Van Shuren on the playing of the famous song. These are due to the "feeling of *** production" *** with the service of the author's "lively" state of mind. In addition to the use of rhetorical techniques, "lotus moonlight" of the "noise" is also manifested in the author of the "static into motion" description. The fourth natural paragraph describes the lotus pond under the moon. Lotus leaves are "very high out of the water", lotus flowers are "sporadically dotted", is "curly open", is "shyly playing with flowers "The lotus leaves and flowers are "trembling", and "like lightning, suddenly passed over the side of the pond", and "as if washed in buttermilk; and like a dream covered with a light veil. "All of these are dynamic descriptions of static things, giving people a sense of movement. The fifth natural paragraph is about the moonlight on the lotus pond. Write "moonlight" with "running water", "diarrhea", "running water as a metaphor for moonlight, with a strong sense of the verb 'diarrhea ' to punctuate, the moonlight will be written alive, written out the moonlight shining, such as pouring like the scene (see Teachers' Teaching Book (Humanistic Version of Compulsory Education 2) P5)"; "The moonlight is shone through the trees, falling unevenly mottled black shadows". The words "shine" and "fall" also have a sense of motion; the willow's shadow is "painted" on the lotus leaves, "'painted' contains human movement," and "'painted' contains human movement. 'contains human action, as if there is an invisible hand in the exhibition of paper waving ink to depict the 'shadow' (see, ibid.)". The sixth natural paragraph writes that the scenery around the lotus pond is still full of dynamics. In addition to the lively sounds of cicadas and frogs, the author uses the words "listless" and "the eyes of thirsty sleepers" to compare the static lights. In short, these dynamic descriptions make the line active, showing the author's "lively" mood. The quiet is the lotus pond, the lively is the author's heart.
Mr. Yao Minyong, in his article Lotus Pond: The Peach Blossom Garden of a Generation of Intellectuals, also noted the author's dynamic description, but later said that the purpose of the dynamic description is to "write static with movement", and linked to the traditional technique of setting off the static with the movement in the classical Chinese poetry, arguing that Zhu Ziqing's dynamic description of the lotus pond was a good example of the author's dynamic description. In connection with the traditional practice of setting off static with movement in classical Chinese poems, Zhu Ziqing thinks that the dynamic description is to set off the "serenity of the lotus pond". The Teachers' Book for Teaching (Humanistic Edition, Compulsory 2) also affirms the writing method of turning static into movement when talking about the use of the two generic rhetorical expressions, and like Mr. Yao Minyong, it finally comes down to "elegance and serenity". Both of the above statements are very superficial and do not go deeper to find out the author's "lively" heart underneath the quiet lotus pond. If the author's purpose is to express "tranquility", then when the author comes back to reality, he should say, "But the tranquility is theirs, I have nothing". Mr. Yao has also quoted the classic poem "Cicadas are noisy and the forest is quiet" to prove it, but he has not noticed the difference between "noisy" and "bustling". The author has emphasized the positive significance and importance of "bustling", and "bustling" is by no means something that the author casually uses to cope with the "sound of cicadas". It is the author's "subconscious" flow. It is because of the previous "lotus moonlight" of the "lively", only to achieve the back of the "most lively", otherwise, the cicada sound should be annoyed, bleak.
And, if it is to show "serenity", and the back of the "lively, flowing" atmosphere will not be able to form an organic unity, but to cause fragmentation, reflecting the "scattered but not the God "Stylistic features. The last paragraph of the author said: "If there are lotus pickers tonight, the lotus here is also counted as 'over the head'; only not see some of the shadow of the flowing water, is not. This makes me miss Jiangnan in the end." Let the author "miss" is the lively Jiangnan, here and now the lotus pond because "do not see the shadow of some running water" and not enough "lively". This sentence in the proof of the author of the "lively" yearning at the same time also proves that the author has been to "lively" mood to look at the pond. The "quiet theory" has never been justified.
All in all, the purpose of the author's description is not to show the "elegant and tranquil" atmosphere, but to "turn silence into movement", in order to show that the "bustle". Here the "bustle" is the author in the quiet of the lotus pond to resort to the "bustle" of the mind. The quiet is the "surface" and the "lively" is the "inside".
If the "fragrance of the moon" is silent, then the next association of "picking lotus" is the sound and color. Lively"; if the "lotus and moonlight" is the natural "lively", then the next association is the personnel of "lively". Although the performance of the two "bustles" is different, they are the same in reflecting the spirit of activity and freedom. Finally, the author directly expresses his "true feelings" in the latter part of the article - "It's really funny", which shows his desire for "hilarity". The author's desire for "hilarity" is shown in the latter part of the book.
The "hilarity" of the latter part of the book is so obvious that I won't repeat it.
Why does the author love "hustle and bustle"? What is the implication and symbolism of "hustle and bustle"?
Gao Yuandong pointed out in his paper "Moonlight in a Lotus Pond: A Psychoanalytic Text" that "Lotus" "presents a psychological process in which the main character uses the beauty of nature and culture to quell his inner turmoil of love", and that this "turmoil of the heart" stems from "man's instinct". This "psychological turmoil" stems from the conflict between "human instincts-'biological qualities'" and reason. This is reflected in Zhu Ziqing's 1923 book "The Qinhuai River in the Shadow of the Pulp and Light": faced with the courtesan's initiative, the author wanted to listen to it, but due to "rational guidance", he refused it, and then his heart was conflicted, suppressed, and depressed. However, we cannot attribute the author's "agitation" and "repression" only to "erotic agitation" and "sexual repression". The author's "agitation" and "repression" are only attributed to "erotic agitation" and "sexual repression. In his book "Symbols of Bitterness," Shiromura Kitagawa says, "On the inside, there is the desire to express one's individuality, while on the outside, there is the unceasing pressure of the constraints and compulsions of social life. The state of agonizing struggle between these two forces is human life. ...... The conflict and entanglement of these two forces, both in the inner life and the outer life, is a pain that has been experienced by all people throughout the ages. Even though there are some differences in size and strength due to the momentum of the times, the organization of the society, and the differences in personal temperament and situation, from the primitive times to the present, there is almost no one who has not been annoyed by this pain. ...... The vitality that wants to make a leap forward is suppressed because of the pain and chagrin caused by the opposing force. " ④ All people in this world have the anguish of "repression". Zhu Ziqing's "turmoil" and "repression" are exactly the "conflict of forces" and "repression of life" that exist in all human beings. ". Only this kind of "repression" may be a little more because of Zhu Ziqing's identity and character. The "moral" and "ritual" constraints on the author's life in reality make him feel more strongly suppressed and unfree. Kitchener Shirakawa added, "Literature is the expression of pure life; it is the only world in which one can express one's individuality in an absolutely free state of mind, free from the repression and coercion of the outside world." ⑤ Repressed by the real society, the author can only find comfort in the spiritual world of literary creation. If "The Qinhuai River in the Shadow of the Pulp and Light" shows the author's repression and lack of freedom in the real world, "The Lotus" shows the author's activity and freedom in the spiritual world when he is alone. This kind of "activity and freedom" is expressed through "bustle", which counteracts the repression of reality. The author's "commotion" and "repression" in the real world are sublimated into a harmonious and beautiful "bustle" by the compensatory effect of literature.
"I love to be lively and calm; I love to live in groups and be alone." In reality, no one likes to be really "calm" or "alone" unless they are forced to turn to themselves by the outside world. And "calm" and "alone" here is not "dead silence". "Like tonight, under the pale moon, one can think of anything, can think of nothing, and feel free. The things one must do and say during the day can now be ignored." We know that the author's favorite "calmness" and "solitude" are the "freedom" and "heat" of a person after getting rid of the "repression" of society. "and "lively". Therefore, these sentences reveal two meanings: one is to show that the author likes to be "lively", and the other is to show that the author is suppressed in reality. The author can only do something he cannot do during the day and say something he cannot say during the day in the night which belongs to his spiritual world to compensate for the repression of reality. So, "I will enjoy the boundless lotus and moonlight". When "boundless" does not refer to the boundlessness of "lotus scent and moonlight color", we clearly feel the boundless freedom of the author's spirit and the boundless activity of life. Mr. Yu Guangzhong commented on Zhu Ziqing's "Spring" that "Spring is like a little girl, flamboyant, smiling and walking": "The little girl is simple and naive, and it is not suitable to be described as 'flamboyant. " In the author's opinion, "Flowering" reveals the author's longing for the stretching and freedom of the mind, and is a resistance to the "unfree" reality.
As for the content of "wife and children" mentioned in both the beginning and the end, the author believes that it only serves the general function of "starting up" and makes the structure complete.
So far, we have understood the implied meaning of the word "bustling" that runs through the article and is concealed by the word "quiet": it reveals the author's active life and freedom of spirit when he is alone, so as to offset the "repression" of the real world. "repression" in the real world.
According to Freud's psychoanalytic theory, "hilarity" is precisely an outpouring of the author's "subconscious". This sense of "repression" and "unfreedom" of reality exists universally, always, more or less, more or less, more or less, more or less, more or less, more or less, more or less, more or less, in our lives. The reason why "Lotus" has become a model of modern literature is that it has invariably aroused the "subconscious" of us from the depths of our lives, which is not easy to realize.