The Chinese nation is a nation that values ethics. The five human relationships of monarch and subject, father and son, husband and wife, brothers and friends are called the "five relationships".
"Mencius Teng Wengong's Chapter" says: "Make Qi be the Situ to teach human ethics: father and son have relatives, monarch and minister have righteousness, husband and wife have different, old and young are orderly, and friends have faith." [1]
In traditional cultural concepts, the relationship between the "five relationships" is a behavioral norm that people must follow, and it is also the basic principle for dealing with relationships between people. The five relationships include family affection, friendship and love, the most basic human emotions rooted in the depths of human nature.
"Emotion" is the basic element that maintains various relationships between people and ensures the orderly development of human society. It is also an eternal theme expressed in literary works in ancient and modern times, both at home and abroad. It can be said that the history of the development of Chinese literature is simply a history of hymns.
From this history, you can see the mellowness of family affection, the sincerity of friendship, and the truth of love everywhere. Most of the poets and poets who have been remembered for generations have achieved their immortal status in the history of literature because they successfully described and praised the true feelings of the world in their works that "the living can die, and death can live".
"Love" is something that is rich in tolerance, but family affection, friendship and love are its most basic connotations. The reason why they have been enthusiastically praised by literati of all generations is that they can bring endless warmth to the world.
However, the world-famous novel "Jin Ping Mei" does the opposite, completely subverting this tradition of hymn "love".
In the work, the true feelings in the world are gone, replaced by the thinness of "family affection", the falseness of "friendship", and the falseness of "love". Through these descriptions, we have a deeper understanding of the warmth and coldness of human feelings and the coldness of the world in the late Ming society. The emergence of
was a reaction to the social reality at that time. It had a complex social and cultural background, and it also interpreted the creative intention of the work from one side.
"New engraved Jin Ping Mei Ci"
(I) "Family affection"
Family affection is the sincere feelings between relatives with blood relationships, including parents and children, brothers and sisters, uncles, nephews, sisters, etc. Family affection is the most warm emotion. Since ancient times, countless works have praised family affection.
Du Fu "The drum of the ward stops people walking, and there is a sound of a geese by autumn. The dew is white from tonight, and the moon is bright in my hometown. My younger brothers are all scattered, and I have no home to ask about life and death. I have not been able to send a letter to me, and I have not stopped the army" ("Remembering my brother on the Moon Night");
Bai Juyi "The winter solstice is in Handan Post, and I hold my knees and shadows accompany me in front of the lamp. I want to sit at home late at night at night. , and you should also talk about travelers who are traveling far away" ("Winter Solstice in Handan, ");
Mengjiao "The thread in the hands of the loving mother, the clothes on the wandering son. I sewed it tightly before leaving, and I was afraid that I would return late. Who said that the heart of a grass can repay the three spring sunshine" ("Song of a wandering son");
Friendly "The guest returns late at night and walks on his way, Cold phosphorus gathers in the soil with fireflies. The moon in the village is dim and mud is slippery, and the bamboo window is slanted and the clothes are repaired" ("Going Back at Night"), especially the meaning of "I hope people will last forever and share the beauty of the moon with thousands of miles" in "The Song of Water Melody: When will the bright moon come?" has become a classic to express family affection for thousands of years.
These works have been chanted for people for thousands of years. In their sincere praise of the human family affection, they express the innate blood ties of human beings.
However, in the first novel "Jin Ping Mei" with the theme of marriage and family life, we experience the so-called indifference and alienation of "family affection".
The family affection between parents and children is the closest emotion in blood relationship. Fathers are kind and filial to the sons, and "filial piety is the first of all virtues", which emphasizes the love of fathers for their children and the filial piety of their children to their parents who gave birth to them. But the father-son and mother-daughter family affection shown in "Jin Ping Mei" has completely changed.
Pan Jinlian is one of the most popular characters in the works. She was sold to Wangzhaoxuan Mansion by her mother at the age of nine to "learning and learning to play and sing"[2], and later resold to Zhang Dahu's house, and then married to Wu Dalang , and finally married to Ximen Qing's house and became the fifth concubine.Such a "literate and literate" woman has no mercy to her mother who worked hard to raise her.
She was jealous of Li Ping'er. She knew that her son, Guan Ge'er, was timid, so she deliberately tortured Qiu Ju and scared Guan Ge'er. Her mother kindly advised her, but she "pushed her hand and almost didn't push Grandma Pan" and even called her "blame old man", which made her angry Grandma Pan "sworry and cry" (Chapter 58).
Mother came to celebrate her birthday. She didn't have money for the sedan chair, but she refused to give it to her. In the end, Meng Yulou gave away a penny and sent the sedan chairman.
Grandma Pan once praised Li Ping'er for Yingchun , Ruyi and others for being a "benevolent sister, warm-hearted", but instead said that her biological daughter "no one's heart, no one's righteousness" (Chapter 78). Even the servant Dai'an said that she "don't recognize a single mother."
Here in Pan Jinlian, there is no closeness between mother and daughter and joy in the heart, only disrespect and coldness to the mother.
Han Aixie is a virgin who keeps her last etiquette in the book and has been praised by the author. In the 30th chapter of the novel, Mr. Zhai, who wrote that "the year is nearly forty and often sick", entrusted Ximen Qing to find a "good woman" who is "not bound to the fifteen or sixteen" as a concubine. The matchmaker Feng's mother fell in love with Han Daoguo's daughter, Sister Han Ai.
Han Daoguo couple did not feel any worries when they learned about it. Instead, they thought that "the child is lucky", and happily sent his daughter out. The picture shows that Butler Zhai is from the Cai Taishi Mansion in the capital, and has power and power. As for their daughter's fate after she got married, they would not consider it at all.
Just as Yuanyang said in Chapter 46 of " Dream of Red Mansions ": "...Zhengri family envies other people's girls as their little wives. The whole family relies on him to be domineering, and the whole family has become little wives!... If you are too arrogant, you will be the uncle. If I am not too arrogant, when I am defeated, you will shrink your neck and let me go of life and death." [3]
Later, Cai Jing failed and implicated Butler Zhai. Sister Han Ai really had nowhere to go and became a secret prostitute with her mother Wang Liuer. If she had not been sent to be a wife by her parents who were determined to cling to the powerful, but married into an ordinary family, she might not have had such an unfortunate encounter.
Wu Song is the most respected hero in the work, but such a hero praised by the author also ignores family affection at a critical moment. It is understandable that he avenged his brother. He failed to kill Ximen Qing for the first time and accidentally killed Li Zaoli. He was about to be exiled. He sold his family's work and sent the toll, but entrusted his niece Ying'er to his neighbor Yao Erlang .
Later, he finally succeeded after being pardoned. He cut Pan Jinlian off her stomach and cut her heart into her heart in front of Ying'er. Ying'er was so scared that she just "covered her face".
And when he killed Pan Jinlian and Wang Po , he "turned Ying'er upside down" and said, "Boy, I don't care about you anymore", threw his niece at the bloody murder scene, packed up his own gold and silver and fled to Liangshan.
In "Jin Ping Mei", whether it is Pan Jinlian who was once the master, Han Daoguo who was willing to be a slave, or the hero Wu Erhuang, he treats his relatives so coldly and alienated without exception.
In them, they cannot feel the impurities-free love between relatives, but only consider themselves without regard for other coldness and numbness.
"Jin Ping Mei" illustration
(II) "Friendship" pseudo-
Friendship is also a very important and extremely common emotion in people's lives. Bao Shuya recommends Guan Zhong and Boya The story of throwing the piano to thank the soulmate has been passed down as a beautiful story for all ages, and there are countless works of singing and harmony among literati.
As far as Tang poetry is concerned, the poet sage Li Bai 's " Giving to Wang Lun " and "Sending to Du Fu under the Dunes City", the poet sage Du Fu's "Write Li Bai in the End of the Sky" and "Remembering Li Bai in the Spring", the Wang Wei 's " Giving to Yuan Er Envoy Anxi ", Gao Shi's "Farewell to Dong Da", Li Shutong 's "Farewell to Farewell to" and so on are all famous works that have been passed down through the ages.
Among them, the poet Wang Bo's " Send Du Shaofu to the Residence of Shuzhou " praises the sincerity and beauty of friendship and the lofty greatness of friendship with the magnificent spirit of "a confidant in the sea, and the ends of the world are like neighbors", thus becoming a classic that praises friendship that has been passed down through the ages.
But in "Jin Ping Mei", what we experience is the so-called "friendship".
As the first protagonist of "Jin Ping Mei", Ximen Qing made friends of all kinds for different purposes and needs. However, what kind of "friendship" did he gain from these friends he thought?
Ying Count, this is the number one idle figure in the book, and is also the guy Ximen Qing relies on and trusted the most. He was once called Ximen Qing's "bellied worm" by Ximen Qing's servant Dai'an.
He once instigated Ximen Qing to comb Li Guijie to satisfy his lust, and tripped Hua Zixu in the brothel to seduce Li Ping'er and help Ximen Qing find Ximen Qing, often amused Ximen Qing for her, and so on.
On the surface, he thinks about Ximen Qing everywhere. However, his gang had other plans. For example, in the 33rd chapter, he bought silk thread for Ximen Qing at a low price, but secretly colluded with the seller and swallowed Ximen Qing's thirty taels of silver.
Han Daoguo’s wife had an affair with her uncle Han Er, and was sent to see the official by Che Tan, a neighbor. While Earl Ying found Ximen Qing and asked him to help the Han family escape, he also got the benefits of Che Tan and other families and told them about favors.
He played Ximen Qing's signature and settled himself on both sides and collected money on both sides, but Ximen Qing was kept in the dark from beginning to end.
After Ximen Qing indulged in lust and died, Earl Ying was not thinking about how to help his widow handle the funeral, but first settled the calculations with other idle brothers, thinking about how much things the ritual could be exchanged for when going to the tribute, and throwing Ximen Qing's daily care for them out of the sky.
Yingbin later told Zhang to marry Li Jiaoer, who had stolen money and returned to the courtyard, to seek the business of Ximen Qing, to defeat Ximen Qing's official flaw, to plot against Pan Jinlian, and to tell him all the big and small things in Ximen Qing's family." He was like flattering Ximen Qing that day, and to serve the new master.
Read the whole book, the so-called brothers and friends that Ximen Qing made are all villains like Ying Count who forget their righteousness and change their power when it comes to profit.
There is no friendship between them that trust each other, only mutual use, as well as taking advantage of each other and ruthless betrayal when facing interests.
There is no friendship like Guan Bao in men, and there are few real and pure friendships among women. As widows who remarried and Yue Niang said that "the man's filial piety clothes were not full, he was married when he was married." Meng Yulou and Pan Jinlian had similar fates.
In Ximen Mansion, the woman with the best relationship with Pan Jinlian can be said to be Meng Yulou except Chunmei . However, Meng Yulou often uses Pan Jinlian to achieve his goals.
She used golden lotus as a gun everywhere, but she was disguised as a matter. It was she who described Song Huilian's domineering behavior to Jinlian, which made Pan Jinlian feel a sense of crisis; but when Pan Jinlian got angry, she said, "I am a timid and dare not provoke him. It depends on your ability to get entangled with him."
She provoked Pan Jinlian, saying that Wu Yueniang called her "the nine-tailed vixen was born", and said, "I heard something that didn't say to you, don't use it." While using her excitement to stimulate the golden lotus, she also cleared herself and watched the tiger fight.
Although she often seems to consider Pan Jinlian, it was not out of care for Jinlian, but because as an alliance, if Pan Jinlian loses miserably, it will be harmful to herself or not.
From this perspective, they seem to be perfect, but their interests are always their masters.
Dai Dunbang painted by Meng Yulou
(III) "Love"
Love and marriage system are one of the important cultural forms of human civilization. Love and marriage forms in different eras, different ethnic groups and different regions reflect the social nature of a specific society and a specific era, and contain the cultural intrinsics of different eras.
Hegel said: "Love does have a noble quality, so it not only stays on sexual desire, but shows a noble and beautiful heart that is rich and rich, requiring the unity of another person with a spirit of vitality, courage and sacrifice." [4]
Lawrence said in "Preface to the Lover of Lady Chatelai": "If the spirit and the body cannot be harmonious, if they do not have natural balance and natural mutual respect, life will be embarrassing."
As love, one of the most noble and beautiful emotions in human society, has been enthusiastically praised by countless poets and poets throughout history. As for ancient Chinese literature, the praise of love can be traced back to the source of Chinese poetry, the Book of Songs.
"The doves are singing in the river island. A beautiful lady is a good match for a gentleman" has become a well-known love story that women and children have.
As the origin of Chinese lyrical literature, the compiler of the Book of Songs named Guan Ju at the beginning of 300 chapters, which shows people's praise and appeals for beautiful love.
Han Yuefu " On Evil ", the folk song " Midnight Song ", Li Shangyin's "Unt Title·Difficult when Meeting"; Anonymous "Bodhisattva Man·Traveling Thousands of Wishes in front of Pillow", Ouyang Xiu's "Traveling at Shasha·House Plum Fragrant", Liu Yong 's "Rain Lin Ling·Child Sorrow", Su Shi's "Jiangchengzi·Ten Years of Life and Death", Qin Guan 's "Magpie Bridge Fairy·Filiate Clouds", Li Qingzhao 's "Drunk Flowers and Shady Clouds", etc., are all well-known works.
, Tang Xianzu's " Peony Pavilion " uses its description and praises of "love does not know where it arises, and goes deeper. The living can die, and death can live" to push the love literature of the Ming Dynasty to the extreme on the basis of inheriting the previous literary theme of chanting love in the literary world.
However, "Jin Ping Mei", which was also born in the middle of the Ming Dynasty, did the opposite and expressed the falsehood of love through a large number of stories. Here, the sacred word "love" is completely mocked and blasphemed.
Ximen Qing has a wife and five concubines. As the main wife, Wu Yueniang is always a widow all year round, which makes her destined to have true feelings for Ximen Qing. Because a woman can't stand the man she loves from the left and right and goes home to marry a concubine and spends many years shopping in the kilns and prostitutes.
Wu Yueniang failed to advise, so she had no choice but to numb herself to pass the time by listening to her aunt's scriptures. Therefore, when Ximen Qing was dying and mourning her to "stay well with your sisters, live in one place, don't be separated" and "indulge" in Pan Jinlian, she did not agree.
As soon as Ximen Qing died, she immediately sent Li Jiaoer back to the brothel; swept Pan Jinlian out of the house and asked Wang Po to sell it; refused to take back the Sun Xue'e who ran away with Lai Wang; caused Li Jiaoer to marry Zhang Erguan, Pan Jinlian was cut off by Wu Song, and Sun Xue'e eventually became a prostitute and committed suicide.
Before Ximen Qing's body was cold, Yue Niang forgot all Ximen Qing's last words. It is difficult for us to believe that she has deep feelings for Ximen Qing.
As for other concubines, it is even harder to say that they are affectionate with Ximen Qing. Li Jiaoer was originally a prostitute, but Ximen Qing immediately "stole money and returned to the courtyard" as soon as he died.
Sun Xue'e had an affair with Lai Wang when Ximen Qing was alive. As soon as Ximen Qing died, she took the opportunity to elope with Lai Wang.
Meng Yulou was originally neglected before Ximen Qing's birthday, so later when Li Yanei asked a matchmaker to marry her, she took the opportunity of interrogating the matchmaker to pour out her dissatisfaction with Ximen Qing: "...Is he married a wife? There is no one in the room?...To be honest, don't lie." "...I'm afraid of eating people."
Li Ping'er was so devoted to Ximen Qing that she was "like a medical slave's medicine", giving her sexual satisfaction that she could not get from Liang Zhongshu, Hua Zixu, and Jiang Zhushan. As for emotional fit and personality respect, they had nothing to do with it. The Chinese nation is a nation that values ethics. The five human relationships of monarch and subject, father and son, husband and wife, brothers and friends are called the "five relationships". "Mencius Teng Wengong's Chapter" says: "Make Qi be the Situ to teach human ethics: father and son have relatives, monarch and minister have righteousness, husband and wife have different, old and young are orderly, and friends have faith." [1] In traditional cultural concepts, the relationship between the "five relationships" is a behavioral norm that people must follow, and it is also the basic principle for dealing with relationships between people. The five relationships include family affection, friendship and love, the most basic human emotions rooted in the depths of human nature. "Emotion" is the basic element that maintains various relationships between people and ensures the orderly development of human society. It is also an eternal theme expressed in literary works in ancient and modern times, both at home and abroad. It can be said that the history of the development of Chinese literature is simply a history of hymns. From this history, you can see the mellowness of family affection, the sincerity of friendship, and the truth of love everywhere. Most of the poets and poets who have been remembered for generations have achieved their immortal status in the history of literature because they successfully described and praised the true feelings of the world in their works that "the living can die, and death can live". "Love" is something that is rich in tolerance, but family affection, friendship and love are its most basic connotations. The reason why they have been enthusiastically praised by literati of all generations is that they can bring endless warmth to the world. However, the world-famous novel "Jin Ping Mei" does the opposite, completely subverting this tradition of hymn "love". In the work, the true feelings in the world are gone, replaced by the thinness of "family affection", the falseness of "friendship", and the falseness of "love". Through these descriptions, we have a deeper understanding of the warmth and coldness of human feelings and the coldness of the world in the late Ming society. The emergence of was a reaction to the social reality at that time. It had a complex social and cultural background, and it also interpreted the creative intention of the work from one side. "New engraved Jin Ping Mei Ci"
(I) "Family affection"
Family affection is the sincere feelings between relatives with blood relationships, including parents and children, brothers and sisters, uncles, nephews, sisters, etc. Family affection is the most warm emotion. Since ancient times, countless works have praised family affection.
Du Fu "The drum of the ward stops people walking, and there is a sound of a geese by autumn. The dew is white from tonight, and the moon is bright in my hometown. My younger brothers are all scattered, and I have no home to ask about life and death. I have not been able to send a letter to me, and I have not stopped the army" ("Remembering my brother on the Moon Night");
Bai Juyi "The winter solstice is in Handan Post, and I hold my knees and shadows accompany me in front of the lamp. I want to sit at home late at night at night. , and you should also talk about travelers who are traveling far away" ("Winter Solstice in Handan, ");
Mengjiao "The thread in the hands of the loving mother, the clothes on the wandering son. I sewed it tightly before leaving, and I was afraid that I would return late. Who said that the heart of a grass can repay the three spring sunshine" ("Song of a wandering son");
Friendly "The guest returns late at night and walks on his way, Cold phosphorus gathers in the soil with fireflies. The moon in the village is dim and mud is slippery, and the bamboo window is slanted and the clothes are repaired" ("Going Back at Night"), especially the meaning of "I hope people will last forever and share the beauty of the moon with thousands of miles" in "The Song of Water Melody: When will the bright moon come?" has become a classic to express family affection for thousands of years.
These works have been chanted for people for thousands of years. In their sincere praise of the human family affection, they express the innate blood ties of human beings.
However, in the first novel "Jin Ping Mei" with the theme of marriage and family life, we experience the so-called indifference and alienation of "family affection".
The family affection between parents and children is the closest emotion in blood relationship. Fathers are kind and filial to the sons, and "filial piety is the first of all virtues", which emphasizes the love of fathers for their children and the filial piety of their children to their parents who gave birth to them. But the father-son and mother-daughter family affection shown in "Jin Ping Mei" has completely changed.
Pan Jinlian is one of the most popular characters in the works. She was sold to Wangzhaoxuan Mansion by her mother at the age of nine to "learning and learning to play and sing"[2], and later resold to Zhang Dahu's house, and then married to Wu Dalang , and finally married to Ximen Qing's house and became the fifth concubine.Such a "literate and literate" woman has no mercy to her mother who worked hard to raise her.
She was jealous of Li Ping'er. She knew that her son, Guan Ge'er, was timid, so she deliberately tortured Qiu Ju and scared Guan Ge'er. Her mother kindly advised her, but she "pushed her hand and almost didn't push Grandma Pan" and even called her "blame old man", which made her angry Grandma Pan "sworry and cry" (Chapter 58).
Mother came to celebrate her birthday. She didn't have money for the sedan chair, but she refused to give it to her. In the end, Meng Yulou gave away a penny and sent the sedan chairman.
Grandma Pan once praised Li Ping'er for Yingchun , Ruyi and others for being a "benevolent sister, warm-hearted", but instead said that her biological daughter "no one's heart, no one's righteousness" (Chapter 78). Even the servant Dai'an said that she "don't recognize a single mother."
Here in Pan Jinlian, there is no closeness between mother and daughter and joy in the heart, only disrespect and coldness to the mother.
Han Aixie is a virgin who keeps her last etiquette in the book and has been praised by the author. In the 30th chapter of the novel, Mr. Zhai, who wrote that "the year is nearly forty and often sick", entrusted Ximen Qing to find a "good woman" who is "not bound to the fifteen or sixteen" as a concubine. The matchmaker Feng's mother fell in love with Han Daoguo's daughter, Sister Han Ai.
Han Daoguo couple did not feel any worries when they learned about it. Instead, they thought that "the child is lucky", and happily sent his daughter out. The picture shows that Butler Zhai is from the Cai Taishi Mansion in the capital, and has power and power. As for their daughter's fate after she got married, they would not consider it at all.
Just as Yuanyang said in Chapter 46 of " Dream of Red Mansions ": "...Zhengri family envies other people's girls as their little wives. The whole family relies on him to be domineering, and the whole family has become little wives!... If you are too arrogant, you will be the uncle. If I am not too arrogant, when I am defeated, you will shrink your neck and let me go of life and death." [3]
Later, Cai Jing failed and implicated Butler Zhai. Sister Han Ai really had nowhere to go and became a secret prostitute with her mother Wang Liuer. If she had not been sent to be a wife by her parents who were determined to cling to the powerful, but married into an ordinary family, she might not have had such an unfortunate encounter.
Wu Song is the most respected hero in the work, but such a hero praised by the author also ignores family affection at a critical moment. It is understandable that he avenged his brother. He failed to kill Ximen Qing for the first time and accidentally killed Li Zaoli. He was about to be exiled. He sold his family's work and sent the toll, but entrusted his niece Ying'er to his neighbor Yao Erlang .
Later, he finally succeeded after being pardoned. He cut Pan Jinlian off her stomach and cut her heart into her heart in front of Ying'er. Ying'er was so scared that she just "covered her face".
And when he killed Pan Jinlian and Wang Po , he "turned Ying'er upside down" and said, "Boy, I don't care about you anymore", threw his niece at the bloody murder scene, packed up his own gold and silver and fled to Liangshan.
In "Jin Ping Mei", whether it is Pan Jinlian who was once the master, Han Daoguo who was willing to be a slave, or the hero Wu Erhuang, he treats his relatives so coldly and alienated without exception.
In them, they cannot feel the impurities-free love between relatives, but only consider themselves without regard for other coldness and numbness.
"Jin Ping Mei" illustration
(II) "Friendship" pseudo-
Friendship is also a very important and extremely common emotion in people's lives. Bao Shuya recommends Guan Zhong and Boya The story of throwing the piano to thank the soulmate has been passed down as a beautiful story for all ages, and there are countless works of singing and harmony among literati.
As far as Tang poetry is concerned, the poet sage Li Bai 's " Giving to Wang Lun " and "Sending to Du Fu under the Dunes City", the poet sage Du Fu's "Write Li Bai in the End of the Sky" and "Remembering Li Bai in the Spring", the Wang Wei 's " Giving to Yuan Er Envoy Anxi ", Gao Shi's "Farewell to Dong Da", Li Shutong 's "Farewell to Farewell to" and so on are all famous works that have been passed down through the ages.
Among them, the poet Wang Bo's " Send Du Shaofu to the Residence of Shuzhou " praises the sincerity and beauty of friendship and the lofty greatness of friendship with the magnificent spirit of "a confidant in the sea, and the ends of the world are like neighbors", thus becoming a classic that praises friendship that has been passed down through the ages.
But in "Jin Ping Mei", what we experience is the so-called "friendship".
As the first protagonist of "Jin Ping Mei", Ximen Qing made friends of all kinds for different purposes and needs. However, what kind of "friendship" did he gain from these friends he thought?
Ying Count, this is the number one idle figure in the book, and is also the guy Ximen Qing relies on and trusted the most. He was once called Ximen Qing's "bellied worm" by Ximen Qing's servant Dai'an.
He once instigated Ximen Qing to comb Li Guijie to satisfy his lust, and tripped Hua Zixu in the brothel to seduce Li Ping'er and help Ximen Qing find Ximen Qing, often amused Ximen Qing for her, and so on.
On the surface, he thinks about Ximen Qing everywhere. However, his gang had other plans. For example, in the 33rd chapter, he bought silk thread for Ximen Qing at a low price, but secretly colluded with the seller and swallowed Ximen Qing's thirty taels of silver.
Han Daoguo’s wife had an affair with her uncle Han Er, and was sent to see the official by Che Tan, a neighbor. While Earl Ying found Ximen Qing and asked him to help the Han family escape, he also got the benefits of Che Tan and other families and told them about favors.
He played Ximen Qing's signature and settled himself on both sides and collected money on both sides, but Ximen Qing was kept in the dark from beginning to end.
After Ximen Qing indulged in lust and died, Earl Ying was not thinking about how to help his widow handle the funeral, but first settled the calculations with other idle brothers, thinking about how much things the ritual could be exchanged for when going to the tribute, and throwing Ximen Qing's daily care for them out of the sky.
Yingbin later told Zhang to marry Li Jiaoer, who had stolen money and returned to the courtyard, to seek the business of Ximen Qing, to defeat Ximen Qing's official flaw, to plot against Pan Jinlian, and to tell him all the big and small things in Ximen Qing's family." He was like flattering Ximen Qing that day, and to serve the new master.
Read the whole book, the so-called brothers and friends that Ximen Qing made are all villains like Ying Count who forget their righteousness and change their power when it comes to profit.
There is no friendship between them that trust each other, only mutual use, as well as taking advantage of each other and ruthless betrayal when facing interests.
There is no friendship like Guan Bao in men, and there are few real and pure friendships among women. As widows who remarried and Yue Niang said that "the man's filial piety clothes were not full, he was married when he was married." Meng Yulou and Pan Jinlian had similar fates.
In Ximen Mansion, the woman with the best relationship with Pan Jinlian can be said to be Meng Yulou except Chunmei . However, Meng Yulou often uses Pan Jinlian to achieve his goals.
She used golden lotus as a gun everywhere, but she was disguised as a matter. It was she who described Song Huilian's domineering behavior to Jinlian, which made Pan Jinlian feel a sense of crisis; but when Pan Jinlian got angry, she said, "I am a timid and dare not provoke him. It depends on your ability to get entangled with him."
She provoked Pan Jinlian, saying that Wu Yueniang called her "the nine-tailed vixen was born", and said, "I heard something that didn't say to you, don't use it." While using her excitement to stimulate the golden lotus, she also cleared herself and watched the tiger fight.
Although she often seems to consider Pan Jinlian, it was not out of care for Jinlian, but because as an alliance, if Pan Jinlian loses miserably, it will be harmful to herself or not.
From this perspective, they seem to be perfect, but their interests are always their masters.
Dai Dunbang painted by Meng Yulou
(III) "Love"
Love and marriage system are one of the important cultural forms of human civilization. Love and marriage forms in different eras, different ethnic groups and different regions reflect the social nature of a specific society and a specific era, and contain the cultural intrinsics of different eras.
Hegel said: "Love does have a noble quality, so it not only stays on sexual desire, but shows a noble and beautiful heart that is rich and rich, requiring the unity of another person with a spirit of vitality, courage and sacrifice." [4]
Lawrence said in "Preface to the Lover of Lady Chatelai": "If the spirit and the body cannot be harmonious, if they do not have natural balance and natural mutual respect, life will be embarrassing."
As love, one of the most noble and beautiful emotions in human society, has been enthusiastically praised by countless poets and poets throughout history. As for ancient Chinese literature, the praise of love can be traced back to the source of Chinese poetry, the Book of Songs.
"The doves are singing in the river island. A beautiful lady is a good match for a gentleman" has become a well-known love story that women and children have.
As the origin of Chinese lyrical literature, the compiler of the Book of Songs named Guan Ju at the beginning of 300 chapters, which shows people's praise and appeals for beautiful love.
Han Yuefu " On Evil ", the folk song " Midnight Song ", Li Shangyin's "Unt Title·Difficult when Meeting"; Anonymous "Bodhisattva Man·Traveling Thousands of Wishes in front of Pillow", Ouyang Xiu's "Traveling at Shasha·House Plum Fragrant", Liu Yong 's "Rain Lin Ling·Child Sorrow", Su Shi's "Jiangchengzi·Ten Years of Life and Death", Qin Guan 's "Magpie Bridge Fairy·Filiate Clouds", Li Qingzhao 's "Drunk Flowers and Shady Clouds", etc., are all well-known works.
, Tang Xianzu's " Peony Pavilion " uses its description and praises of "love does not know where it arises, and goes deeper. The living can die, and death can live" to push the love literature of the Ming Dynasty to the extreme on the basis of inheriting the previous literary theme of chanting love in the literary world.
However, "Jin Ping Mei", which was also born in the middle of the Ming Dynasty, did the opposite and expressed the falsehood of love through a large number of stories. Here, the sacred word "love" is completely mocked and blasphemed.
Ximen Qing has a wife and five concubines. As the main wife, Wu Yueniang is always a widow all year round, which makes her destined to have true feelings for Ximen Qing. Because a woman can't stand the man she loves from the left and right and goes home to marry a concubine and spends many years shopping in the kilns and prostitutes.
Wu Yueniang failed to advise, so she had no choice but to numb herself to pass the time by listening to her aunt's scriptures. Therefore, when Ximen Qing was dying and mourning her to "stay well with your sisters, live in one place, don't be separated" and "indulge" in Pan Jinlian, she did not agree.
As soon as Ximen Qing died, she immediately sent Li Jiaoer back to the brothel; swept Pan Jinlian out of the house and asked Wang Po to sell it; refused to take back the Sun Xue'e who ran away with Lai Wang; caused Li Jiaoer to marry Zhang Erguan, Pan Jinlian was cut off by Wu Song, and Sun Xue'e eventually became a prostitute and committed suicide.
Before Ximen Qing's body was cold, Yue Niang forgot all Ximen Qing's last words. It is difficult for us to believe that she has deep feelings for Ximen Qing.
As for other concubines, it is even harder to say that they are affectionate with Ximen Qing. Li Jiaoer was originally a prostitute, but Ximen Qing immediately "stole money and returned to the courtyard" as soon as he died.
Sun Xue'e had an affair with Lai Wang when Ximen Qing was alive. As soon as Ximen Qing died, she took the opportunity to elope with Lai Wang.
Meng Yulou was originally neglected before Ximen Qing's birthday, so later when Li Yanei asked a matchmaker to marry her, she took the opportunity of interrogating the matchmaker to pour out her dissatisfaction with Ximen Qing: "...Is he married a wife? There is no one in the room?...To be honest, don't lie." "...I'm afraid of eating people."
Li Ping'er was so devoted to Ximen Qing that she was "like a medical slave's medicine", giving her sexual satisfaction that she could not get from Liang Zhongshu, Hua Zixu, and Jiang Zhushan. As for emotional fit and personality respect, they had nothing to do with it.
Pan Jinlian has even harder to say that she has true feelings for Ximen Qing, because when Ximen Qing lingers in the brothel for many days, she secretly knows the servant; after Ximen Qing dies, she steals Chen Jin; when Wang Po takes her home, she affairs with Wang Chao; Wu Song hypothesizes that she wants to marry her, she also wants "this marriage is still in his hands", and eventually dies tragically at Wu Song's hands.
As for other women who have sex with Ximen Qing, there is no need to say that they have true feelings for each other.
These women include maid Chunmei, Yingchun, Xiuchun, Lanxiang, family and daughter-in-law Song Huilian, Huiyuan, Wang Liuer, Ben Sissi's wife, nurse Ruyier, noble lady Lin, prostitute Li Guijie, Wu Yiner, Zheng Aiyue, etc.
These people are either greedy for Ximen Qing’s money, or pursue the physiological satisfaction brought by Ximen Qing, or both.
They give their personality and body in exchange for satisfaction in money and other aspects. In this exchange, what Ximen Qing got was their bodies, what they got was Ximen Qing's money, and there would never be true feelings of harmony between spirit and body between them.
"Jin Ping Mei Ci Talk"
(IV) "Jin Ping Mei" subverts the traditional and cultural origins of love
Prekhanov once said: "Any literary work is the expression of its era, and its content and form are determined by the interests, habits and longings of this era." [5]
In the mid-19th century, Dan, a famous French literary theorist and historian, Na said: "To understand an art work, an artist, and a group of artists, you must correctly imagine the spirit and customs of the era to which they belong. The final explanation of this work of art is also the basic reason that determines everything. This has been proven by experience; just look at the important eras in art history, and you can see that a certain art appears and eliminates at the same time as certain era spirit and customs." [6]
Starting from the general principle of art reflecting life, the subversion of the Chinese literary tradition of "Jin Ping Mei" must have its historical, social and cultural origins.
"Jin Ping Mei" is entitled to Song Yuming. Although the specific time of his book has not yet been finalized, it was a consensus in the academic community that it originated in the late Ming Dynasty. China's late Ming society was a special era in which the laws of nature and human desires collided violently, and the advocacy and desires were mixed and blended.
Confucian The philosophers had nothing to blame for the moral perfection of people, but they should not oppose human natural desires and material desires for life, and regard them as the enemy that hinders human moral perfection.
Confucian so-called "a gentleman is like righteousness, and a villain is like profit"[7], "a gentleman seeks the way but not food"[8], Mencius talks about "non-food cultivation of the heart is better than few desires"[9], and Dong Zhongshu proposes "correcting one's friendship does not seek profit, understanding one's way does not seek success"[10], and when Cheng and Zhu of the Song Dynasty proposed "preserving the laws of nature and destroying human desires", the stifling of people's legitimate desires reaches its peak.
However, the logical laws of the movement of things that will turn out to the extreme, the sharp intensification of various social contradictions after the middle of the Ming Dynasty, the surging trend of thoughts of Wang Yangming, the strong advocacy of the human nature of the Wang Xue Left Party represented by Li Zhuowu, the advocacy of human nature of human beings by Li Zhi, and the promotion of "human desires" directly enlightened the great enthusiasm and spread of the "respecting love" and "respecting love" trend of thoughts in the ideological and literary and artistic circles.
In the ideological world in the middle of the Ming Dynasty, praising "love" became a fashion trend; "love" became the sharp dagger for progressive thinkers to stifle human nature. Feng Menglong said: "If heaven and earth are ruthless, nothing will give birth to everything; all things are ruthless, and cannot be reborn." [11] "All things are born from emotions and die from emotions." "A man is ruthless, even if he is called a living person, I will just call him death." [12]
Wanli At that time, the writer Yuan Huang said: "Those who have deep feelings are saints, those who can use emotions are wise men, and those who have feelings but do not have feelings are mediocre people." [13]
Tang Xianzu said: "Emotion does not know where it arises, and when it goes deeper, those who live can die, and death can live.”[14]
Yuan Hongdao said: “The words of love can touch oneself. ”15 “I am distant and unbearable. ”[16] “Where one’s nature is at ease, one cannot be strong, and one can act out by nature, which is called a real person. ”[17]
Li Zhi said: "It is because the sound and color come from emotions and nature, and can it be connected and strong and effective? ...Only when you are strong, you will lose it. Therefore, you should regard nature as beauty, which is not what is called naturalness beyond emotion. ”[18]
says that he is crazy and stupid, and his behavior is easy. ”[19] "There is no need to be pretentious, no need to be rebellious, no need to be ignorant, no need to suppress one's will, and move one's heart." It is proposed that creation should be "expressed with emotion" [20].
Xu Wei claims to be "unrestrained and unrestrained" [21], emphasizing that the article must be "satisfied from one's own things" [22].
Jiao Hong advocates that the article should be " He abandoned the old bones and marked the spiritual and spiritual masters"[23].
The theorist Zhang Qi said: "Emotion is a thing, which is to control the ears and eyes, to change the principles of the spirit, to forget the darkness, to eliminate hunger and cold, to lose the nine states, to cross the eight deserts, to penetrate the gold and stone, to move the heaven and earth, to lead all things, to live, to die, to die, to live, to die, to die, to live and not die, to forget life, to live and to forget life, to be far and near, to be rippled, to be rippled, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be swaying, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be singing, to be surviving, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be ”[24]
From the perspective of creation practice, 3 Yuan 's poems, Li Zhi's miscellaneous articles, Zhang Dai 's sketches, Tang Xianzu's letters, Xu Xiake 's travel notes, etc., are all natural expressions of true feelings.
However, the "love" promoted by thinkers and writers is an extremely broad concept. Emotion, desire, color, etc. are difficult to strictly distinguish from nature. In real life and literary creation, it is naturally difficult to make a clear definition of either one or the other.
In terms of the overall situation of Ming Dynasty literature , a large number of works that reflect the lustfulness and indulgence of desire and enjoyment of the city, such as "Cuixiang Dream" 》 "Accomplice of Monks and Nuns", "Three Words", "Two Pawns", "Ruyi Jun Biography", "Unforgettable History of Embroidered Couches", "History of Waves", "Biography of the Immortal Women".
Therefore, the "emotion" vigorously promoted by literati in the late Ming Dynasty not only had the positive effect of breaking through the shackles of Neo-Confucianism and liberating human nature, but also had the negative factors that guide the world to be the only one who is willing to slide into the quagmire of indulgence.
In the middle of the Ming Dynasty, urban industry and commerce developed rapidly, and the developed commodity economy first stimulated the greed of the ruling class.
Zhang Han In "Pine Window Dream Words" Volume 4 "Hundred Works of the Hundred Works" record the extravagant trend of the capital: "Since ancient times, emperors were prone to extravagance, and Yan, the country of success and our dynasty, built capitals. After their practices were deep, they gradually became customs, so they are very extravagant. I have seen the department store in the swallows for a few minutes, the treasures are abundant, the clothes are fresh and beautiful, the tools are exquisite, the palace is magnificent, and the capital is magnificent... Moreover, the capital is the place where the emperor is the viewing of the capital. If the nine levels of nobleness are magnificent, the lower one will be built; if the imperial palace is luxurious, the lower one will be painted; if the Dharma Palace is rare and the lower one will be carved; if there are good ones above, the lower one will be even more. ”[25]
The good fortune of the ruling class had a direct impact on the lower class. The so-called "The King of Chu is so thin, and most of them starved to death in the palace." The entire late Ming society was filled with the extravagant and popular atmosphere of luxury and prosperity. Greeding for pleasure, living and dreaming to die, became the main lifestyle pursued by the world.
Zhengde to Jiajing at the beginning of the beginning of Jiajing , customs changed drastically, "the land was not heavy, the capital was successful, the rise and fall were not constant"; from the end of Jiajing to Longqing, "the wealth was mostly rich, and the original wealth was small"; during the Wanli period, it was "the gold ruled the heavens, the money was very good, the greed was extremely bad, and the flesh and blood were tragic"[26]. "Boping County Chronicles" records:
From the middle of Jiajing to the present, the current trend has become more and more desolate. They are accustomed to being arrogant and stingy, and they are open-minded and drinkable, and are generous in the feast and drinking, and are rich in flavor and color. When it comes to the market, the traffickers and servants also have many tassels, hats, shoes, gauze skirts, thin trousers, wine and tea shops, and new sounds are different, and they are soaked in a new way. [27]
Fan Lian said:
customs have become thin, just like rivers and rivers cannot return to their backs. Since ancient times, Wu Song has always called the custom of extravagance, sly and arrogant, and no longer has the opportunity to return to simplicity. Since Jia and Long, wealthy families have led extravagance, lust, and have a great reputation, and have always been arrogant.There are strange stories every day, and there are new things every year. The mother of the village is competing for a big rat; the mother of the field is full of love for the demon fox, and the ethics are gone, and the principles are gone. [28]
Under the influence of this trend, the entire society is filled with a frenzy of worshipping money. Anything can be bought with money and exchanged for power.
Therefore, in "Jin Ping Mei", Ximen Qing manipulated gold and silver, relying on the power he obtained from bribery, got a woman who seemed to love him, enjoyed the favor of his brothers and friends, and even bought the "adopted son" of Zhaoxuan's son.
As he himself said, as long as he has money, he can rape Chang'e , raping the Weaver Girl, kidnapped Xu Feiqiong, and stealing the daughter of the Queen Mother of the West (Chapter 57), let alone getting everything in the world? ! Family, love and friendship were completely mocked and blasphemed by Brother Kong Fang.
"Jin Ping Mei" describes the true social status quo in which family affection, love and friendship are defiled and blasphemed.
The provocation of love led to the proliferation of human desires, which was probably unexpected by late Ming thinkers. Therefore, in the face of the reality of moral depravity and indulgence indulgence, they clearly realized the need to abstain from the principles of the desire.
As Yuan Huang once said: "People are born with emotions, and they are both gentle and gentle, and they are extremely interesting. If they adjust the right way, then reason will come from it." [29]
Yuan Hongdao emphasized that "reason is within emotions" [30]. Li Zhuowu said: "It is because the sound and color come from emotions and nature, and can it be connected and strong? Therefore, naturally occurring from emotions and nature, so naturally stopping from etiquette and morality. There is also etiquette and morality that can be stopped from emotion and reason." [31]
These discussions seem to realize the certain degree of connection between emotion and reason, and the intention to regulate the contradiction between the two. Because one-sided emphasis on "reason" or blind indulging in "emotion" will bring disasters to society and life.
Because of this, in the field of creation, literati represented by Feng Menglong, Yuan Hongdao, Xu Wei, Tang Xianzu and others describe and praise the true feelings of the world through their huge pens, and promote the reasonable expansion of love through vivid stories, in an attempt to recall the true feelings of the world that were obliterated and eliminated in the craze of indulgence.
If the above writers correct the world's style by singing true feelings from the positive side, Lanling Xiaoxiaosheng shows the preciousness of the true feelings in the world from the negative side, calling for the true feelings in the world, and through the stories of blasphemy and characters in the novel, he advises Ximen Qing and Pan Jinlian who only know how to be scathed but not what true feelings are, thus realizing the theme of the work's admonition [32].
In this regard, Xin Xinzi's "Preface to Jin Ping Mei" published at the beginning of the volume of "Jin Ping Mei Ci" said very clearly:
"I think Lanling Xiaoxiaosheng wrote "Jin Ping Mei Biography", which is based on the customs of the times, and it is probably because of it. ... My friend Xiaoxiaosheng For this reason, I have spent all my life, and wrote this biography, which is a hundred chapters. The sentences are novel and popular, and they are nothing more than understanding human ethics, abstaining from lust, dividing etiquette, transforming good and evil, knowing the opportunity of prosperity, decline, and eliminating retribution, as it is in the present." It is believed that "Jin Ping Mei" "is related to the world's weathering, punishing good and evil, cleaning the heart, and all supplements."
Gong also pointed out the purpose of the work's advice, and pointed out in "Jin Ping Mei Postscript" that it "has some thorns on the cover", "This book will be popular in the future and will have immeasurable merits" [33].
Nongzhuke believes that "the author of Jin Ping Mei" "is his own intention, and it is a precept for the world, not for the world's advice." He believes that reading Jin Ping Mei "a fearful heart is a gentleman" [34].
In the early Qing Dynasty, when Zhang Zhupo commented on "Jin Ping Mei", he stated that this book "only sins money and sex" [35]. The purpose of the novel is to "subtlely speak, and literati know the warning; when it is obvious, everyone knows the common people" [36]. "Jin Ping Mei is a book that punishes people, so it is also called precepts" [37].
Manchu text "Preface to Jin Ping Mei" points out that "Jin Ping Mei" "all hundreds of chapters are considered as a hundred warnings, and every chapter has no mistakes in making friends, engaging in camps, lingering and drinking, adultery, greed and seeking, bullying, tricking tricks and deceiving, anger and committing fraud, making fun of others, making false accusations, instigating dissent, and having nothing to do in cultivating oneself and managing the family and benefiting the country." The author "compiled bad habits into the precepts of all ages", "setting the intention as a warning", so that "those who view this book regard these hundred warnings, think about it, and knowing that if you are against yourself and afraid of such a thing, you can be said to be worthy of the book" [38].
In modern times, people also believed that "Jin Ping Mei" "written the snobbishness of 'money' is enough to make readers sad; writing the benefits and disadvantages of 'color' is enough to make readers feel refreshed; writing a passage that sees through money and sex is extremely painful, which is really a heart-warming word for the author.
Those who read "Jin Ping Mei" should first read thousands of times, and read thousands of times, so that they can punish and persuade them, and not get lost." "Jin Ping Mei" is a book that punishes and persuades the world and criticizes evil and vulgarities" [39].
In short, "Jin Ping Mei" uses meticulous descriptions and subverts the tradition of Chinese literature's love praise to achieve the purpose of calling for true feelings in the world.
From this perspective, Lanling Xiaoxiaosheng, like Tang Xianzu and others, added a strong touch to Chinese love literature.
"Selected Collection of Research on Jin Ping Mei" Book seal
comment
, "Mencius, Teng Wen Official Sentences" See Yang Bojun "Mencius Translation and Notes", Beijing: Zhonghua Book Company 2005 edition, page 125.
, Lanling Xiaoxiaosheng's "Jin Ping Mei Cihua", Beijing: People's Literature Press 1985 edition, page 10.
3, Cao Xueqin's "Dream of the Red Chamber", Beijing: Zhonghua Book Company, 1998 edition, page 620
4, Hegel's "Aesthetics" Volume 2, Beijing: Commercial Press 1982 edition, page 332.
5, Plekhanov's "On Western European Literature", Beijing: People's Publishing House 1957, page 121.
6, Danner "Philosophy of Art", Hefei: Anhui Literature and Art Publishing House, 1998 edition, pages 46-47,.
7, "The Analects of Confucius·Li Ren". See Yang Bojun's "Translation and Analects of Confucius", Beijing: Zhonghua Book Company, 1980 edition, page 39.
8, " Analects of Confucius·Duke Ling of Wei ". See Yang Bojun's "Translation and Analects of Confucius", Zhonghua Book Company, 1980 edition, page 168.
9, "Mencius·Chapter 2 of the Heart". See Yang Bojun's "Mencius Translation and Annotation", Beijing: Zhonghua Book Company, 2005 edition, page 339.
0, Bangu " Han Shu " Volume 56 "Biography of Dong Zhongshu", Beijing: Zhonghua Book Company, 2007 edition, page 570.
1 Feng Menglong's "Preface to the History of Love·Preface to the Dragon Son", "Full Works of Feng Menglong", Nanjing: Phoenix Publishing House, 2007 edition, Volume 7, page 1.
2 Feng Menglong's "Love History·Love Communication·Love Stone", "Full Works of Feng Menglong", Phoenix Publishing House, 2007 edition, Volume 7, page 932.
3 Yuan Huang "Theory of Love". See Volume 97 of "Supplementary Books of the Four Library of Wenyuan Pavilion", Beijing: Beijing Library Press, 2005 edition, page 726.
4 Tang Xianzu's "Collection of Tang Xianzu·Inscription on the Peony Pavilion", "Collection of Tang Xianzu", Shanghai: Shanghai People's Publishing House 1973 edition, page 1093.
5 Yuan Hongdao's "Jinfan Collection·Preface to the Small Poems", "Yuan Hongdao Collection and Annotation", Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 188.
6 Yuan Hongdao's "Collection of Liberation·Stories of Huishan", "Collection of Yuan Hongdao", Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 419.
7 Yuan Hongdao's "Following the Knowing of Zhang You Yu Zhenming", "Yuan Hongdao's Collection and Annotation", Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 193.
8 Li Zhi's "Burning Books·Reading the Lufu Theory", "Li Zhi's Collection of Documents", Volume 2, Beijing: Social Sciences Documents Publishing House, 2000 edition, page 23.
9 Li Zhi's "Burning Books·Praise by Self", "Li Zhi's Collection of Documents", Beijing: Social Sciences Documents Press, 2000 edition, page 121.
0 Li Zhi's "Burning Books·Reading as if you don't have a mother's letter", "Li Zhi's Collection of Documents", Volume 2, Beijing: Social Sciences Documents Publishing House, 2000 edition, page 132.
1 Xu Wei's "Epitaph for Self-Being", "Xu Wenchang's Three Collections" Volume 26, "Xu Wei's Collection" Volume 2, Beijing: Zhonghua Book Company, 1983 edition, page 639.
2 Xu Wei's "Preface to Ye Zisu's Poems", "Xu Wenchang's Three Collections" Volume 19, "Xu Wei's Collection" Volume 2, Beijing: Zhonghua Book Company, 1983 edition, page 520.
3 Jiao Rong's "Passage with Friends", " Danyuan Collection " Volume 12, Beijing: Zhonghua Book Company, 1999 edition, page 93.
4 Zhang Qi's "Hengqu Chen Tan·Love infatuated Words", "Comprehensive Chinese Classical Opera Theory" (IV), Beijing: China Drama Publishing House, 1959 edition, page 273.
5 Zhang Han's "A Record of Hundred Works", "Pine Window Dream Language", Shanghai: Shanghai Ancient Books Publishing House, 1986 edition, page 68.
6 Gu Yanwu's "Book on the Profit of the Counties and Countries in the World" Volume 32, Beijing: Commercial Press's third-edited photocopy of "Sibu Congqi".
7 "Boping County Chronicles" Volume 5 "Humanitarianism·Folk Customs Interpretation". "Chinese Local Chronicles Integration·Shandong Prefectures and County Chronicles 86", Nanjing: Phoenix Publishing House 2004 edition, page 503.
8 Volume 2 of Fan Lian's "Yunjian Jumu Copy", reprinted by the Fengxian Chu family in May of Wuchen in the Republic of China.
9 Yuan Huang's "Love Theory". See Volume 97 of "Supplementary Books of the Four Library of Wenyuan Pavilion", Beijing: Beijing Library Press, 2005 edition, page 723.
30 Yuan Hongdao's "Xiaobitang Collection·Deshan Litan" Volume 44, Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 1290.
31 Li Zhi's "Burning Books·Praise by Self", "Li Zhi's Collection of Documents", Beijing: Social Sciences Documents Press, 2000 edition, page 121.
32 See the new exploration of the creation theme of my work "Jin Ping Mei", Journal of Henan University, Issue 4, 1994.
33 Ergong's "Jin Ping Mei Postscript", "Jin Ping Mei Ci Talk", Beijing: People's Literature Publishing House, 1985 edition.
34 Dongwu Nongzhuke's "Preface to Jin Ping Mei", "Jin Ping Mei Ci" Volume 1985 Edition, Beijing: People's Literature Publishing House.
35 Zhang Zhupo's "Bamboo Gossip", "Zhang Zhupo's Criticism of the First Strange Book of Jin Ping Plum", Jinan: Qilu Bookstore, 1987 edition.
36 Zhang Zhupo's "The First Strange Book Not a Porn Book", "Zhang Zhupo's Criticism of the First Strange Book Jin Ping Mei" Volume, Jinan: Qilu Book Club, 1987 edition.
37 Zhang Zhupo's "Reading the First Strange Book of Jin Ping Plum" 105, "Zhang Zhupo's criticism of the First Strange Book of Jin Ping Plum", Jinan: Qilu Bookstore, 1987 edition, page 49.
38 The beginning of the volume of the mangible text "Jin Ping Mei" in the 47th year of the Kangxi reign. Translated by anonymous, edited and punctuated by Huang Runhua and Wang Xiaohong, see "Literature" Volume 16, 1983.
39 Mengsheng "Novel Collection". See Huang Lin's "Compilation of Jin Ping Mei Information", Beijing: Zhonghua Book Company, 1987 edition, page 336.
Article Author unit: Henan University
This article is authorized to be published, and the original article was published in "Selected Works of Zhang Jinde Jin Ping Mei Research", 2015, published by Taiwan Student Bookstore Co., Ltd. Please indicate the source when forwarding.
”[14]Yuan Hongdao said: “The words of love can touch oneself. ”15 “I am distant and unbearable. ”[16] “Where one’s nature is at ease, one cannot be strong, and one can act out by nature, which is called a real person. ”[17]
Li Zhi said: "It is because the sound and color come from emotions and nature, and can it be connected and strong and effective? ...Only when you are strong, you will lose it. Therefore, you should regard nature as beauty, which is not what is called naturalness beyond emotion. ”[18]
says that he is crazy and stupid, and his behavior is easy. ”[19] "There is no need to be pretentious, no need to be rebellious, no need to be ignorant, no need to suppress one's will, and move one's heart." It is proposed that creation should be "expressed with emotion" [20].
Xu Wei claims to be "unrestrained and unrestrained" [21], emphasizing that the article must be "satisfied from one's own things" [22].
Jiao Hong advocates that the article should be " He abandoned the old bones and marked the spiritual and spiritual masters"[23].
The theorist Zhang Qi said: "Emotion is a thing, which is to control the ears and eyes, to change the principles of the spirit, to forget the darkness, to eliminate hunger and cold, to lose the nine states, to cross the eight deserts, to penetrate the gold and stone, to move the heaven and earth, to lead all things, to live, to die, to die, to live, to die, to die, to live and not die, to forget life, to live and to forget life, to be far and near, to be rippled, to be rippled, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be ripped, to be swaying, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be swayed, to be singing, to be surviving, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be survived, to be ”[24]
From the perspective of creation practice, 3 Yuan 's poems, Li Zhi's miscellaneous articles, Zhang Dai 's sketches, Tang Xianzu's letters, Xu Xiake 's travel notes, etc., are all natural expressions of true feelings.
However, the "love" promoted by thinkers and writers is an extremely broad concept. Emotion, desire, color, etc. are difficult to strictly distinguish from nature. In real life and literary creation, it is naturally difficult to make a clear definition of either one or the other.
In terms of the overall situation of Ming Dynasty literature , a large number of works that reflect the lustfulness and indulgence of desire and enjoyment of the city, such as "Cuixiang Dream" 》 "Accomplice of Monks and Nuns", "Three Words", "Two Pawns", "Ruyi Jun Biography", "Unforgettable History of Embroidered Couches", "History of Waves", "Biography of the Immortal Women".
Therefore, the "emotion" vigorously promoted by literati in the late Ming Dynasty not only had the positive effect of breaking through the shackles of Neo-Confucianism and liberating human nature, but also had the negative factors that guide the world to be the only one who is willing to slide into the quagmire of indulgence.
In the middle of the Ming Dynasty, urban industry and commerce developed rapidly, and the developed commodity economy first stimulated the greed of the ruling class.
Zhang Han In "Pine Window Dream Words" Volume 4 "Hundred Works of the Hundred Works" record the extravagant trend of the capital: "Since ancient times, emperors were prone to extravagance, and Yan, the country of success and our dynasty, built capitals. After their practices were deep, they gradually became customs, so they are very extravagant. I have seen the department store in the swallows for a few minutes, the treasures are abundant, the clothes are fresh and beautiful, the tools are exquisite, the palace is magnificent, and the capital is magnificent... Moreover, the capital is the place where the emperor is the viewing of the capital. If the nine levels of nobleness are magnificent, the lower one will be built; if the imperial palace is luxurious, the lower one will be painted; if the Dharma Palace is rare and the lower one will be carved; if there are good ones above, the lower one will be even more. ”[25]
The good fortune of the ruling class had a direct impact on the lower class. The so-called "The King of Chu is so thin, and most of them starved to death in the palace." The entire late Ming society was filled with the extravagant and popular atmosphere of luxury and prosperity. Greeding for pleasure, living and dreaming to die, became the main lifestyle pursued by the world.
Zhengde to Jiajing at the beginning of the beginning of Jiajing , customs changed drastically, "the land was not heavy, the capital was successful, the rise and fall were not constant"; from the end of Jiajing to Longqing, "the wealth was mostly rich, and the original wealth was small"; during the Wanli period, it was "the gold ruled the heavens, the money was very good, the greed was extremely bad, and the flesh and blood were tragic"[26]. "Boping County Chronicles" records:
From the middle of Jiajing to the present, the current trend has become more and more desolate. They are accustomed to being arrogant and stingy, and they are open-minded and drinkable, and are generous in the feast and drinking, and are rich in flavor and color. When it comes to the market, the traffickers and servants also have many tassels, hats, shoes, gauze skirts, thin trousers, wine and tea shops, and new sounds are different, and they are soaked in a new way. [27]
Fan Lian said:
customs have become thin, just like rivers and rivers cannot return to their backs. Since ancient times, Wu Song has always called the custom of extravagance, sly and arrogant, and no longer has the opportunity to return to simplicity. Since Jia and Long, wealthy families have led extravagance, lust, and have a great reputation, and have always been arrogant.There are strange stories every day, and there are new things every year. The mother of the village is competing for a big rat; the mother of the field is full of love for the demon fox, and the ethics are gone, and the principles are gone. [28]
Under the influence of this trend, the entire society is filled with a frenzy of worshipping money. Anything can be bought with money and exchanged for power.
Therefore, in "Jin Ping Mei", Ximen Qing manipulated gold and silver, relying on the power he obtained from bribery, got a woman who seemed to love him, enjoyed the favor of his brothers and friends, and even bought the "adopted son" of Zhaoxuan's son.
As he himself said, as long as he has money, he can rape Chang'e , raping the Weaver Girl, kidnapped Xu Feiqiong, and stealing the daughter of the Queen Mother of the West (Chapter 57), let alone getting everything in the world? ! Family, love and friendship were completely mocked and blasphemed by Brother Kong Fang.
"Jin Ping Mei" describes the true social status quo in which family affection, love and friendship are defiled and blasphemed.
The provocation of love led to the proliferation of human desires, which was probably unexpected by late Ming thinkers. Therefore, in the face of the reality of moral depravity and indulgence indulgence, they clearly realized the need to abstain from the principles of the desire.
As Yuan Huang once said: "People are born with emotions, and they are both gentle and gentle, and they are extremely interesting. If they adjust the right way, then reason will come from it." [29]
Yuan Hongdao emphasized that "reason is within emotions" [30]. Li Zhuowu said: "It is because the sound and color come from emotions and nature, and can it be connected and strong? Therefore, naturally occurring from emotions and nature, so naturally stopping from etiquette and morality. There is also etiquette and morality that can be stopped from emotion and reason." [31]
These discussions seem to realize the certain degree of connection between emotion and reason, and the intention to regulate the contradiction between the two. Because one-sided emphasis on "reason" or blind indulging in "emotion" will bring disasters to society and life.
Because of this, in the field of creation, literati represented by Feng Menglong, Yuan Hongdao, Xu Wei, Tang Xianzu and others describe and praise the true feelings of the world through their huge pens, and promote the reasonable expansion of love through vivid stories, in an attempt to recall the true feelings of the world that were obliterated and eliminated in the craze of indulgence.
If the above writers correct the world's style by singing true feelings from the positive side, Lanling Xiaoxiaosheng shows the preciousness of the true feelings in the world from the negative side, calling for the true feelings in the world, and through the stories of blasphemy and characters in the novel, he advises Ximen Qing and Pan Jinlian who only know how to be scathed but not what true feelings are, thus realizing the theme of the work's admonition [32].
In this regard, Xin Xinzi's "Preface to Jin Ping Mei" published at the beginning of the volume of "Jin Ping Mei Ci" said very clearly:
"I think Lanling Xiaoxiaosheng wrote "Jin Ping Mei Biography", which is based on the customs of the times, and it is probably because of it. ... My friend Xiaoxiaosheng For this reason, I have spent all my life, and wrote this biography, which is a hundred chapters. The sentences are novel and popular, and they are nothing more than understanding human ethics, abstaining from lust, dividing etiquette, transforming good and evil, knowing the opportunity of prosperity, decline, and eliminating retribution, as it is in the present." It is believed that "Jin Ping Mei" "is related to the world's weathering, punishing good and evil, cleaning the heart, and all supplements."
Gong also pointed out the purpose of the work's advice, and pointed out in "Jin Ping Mei Postscript" that it "has some thorns on the cover", "This book will be popular in the future and will have immeasurable merits" [33].
Nongzhuke believes that "the author of Jin Ping Mei" "is his own intention, and it is a precept for the world, not for the world's advice." He believes that reading Jin Ping Mei "a fearful heart is a gentleman" [34].
In the early Qing Dynasty, when Zhang Zhupo commented on "Jin Ping Mei", he stated that this book "only sins money and sex" [35]. The purpose of the novel is to "subtlely speak, and literati know the warning; when it is obvious, everyone knows the common people" [36]. "Jin Ping Mei is a book that punishes people, so it is also called precepts" [37].
Manchu text "Preface to Jin Ping Mei" points out that "Jin Ping Mei" "all hundreds of chapters are considered as a hundred warnings, and every chapter has no mistakes in making friends, engaging in camps, lingering and drinking, adultery, greed and seeking, bullying, tricking tricks and deceiving, anger and committing fraud, making fun of others, making false accusations, instigating dissent, and having nothing to do in cultivating oneself and managing the family and benefiting the country." The author "compiled bad habits into the precepts of all ages", "setting the intention as a warning", so that "those who view this book regard these hundred warnings, think about it, and knowing that if you are against yourself and afraid of such a thing, you can be said to be worthy of the book" [38].
In modern times, people also believed that "Jin Ping Mei" "written the snobbishness of 'money' is enough to make readers sad; writing the benefits and disadvantages of 'color' is enough to make readers feel refreshed; writing a passage that sees through money and sex is extremely painful, which is really a heart-warming word for the author.
Those who read "Jin Ping Mei" should first read thousands of times, and read thousands of times, so that they can punish and persuade them, and not get lost." "Jin Ping Mei" is a book that punishes and persuades the world and criticizes evil and vulgarities" [39].
In short, "Jin Ping Mei" uses meticulous descriptions and subverts the tradition of Chinese literature's love praise to achieve the purpose of calling for true feelings in the world.
From this perspective, Lanling Xiaoxiaosheng, like Tang Xianzu and others, added a strong touch to Chinese love literature.
"Selected Collection of Research on Jin Ping Mei" Book seal
comment
, "Mencius, Teng Wen Official Sentences" See Yang Bojun "Mencius Translation and Notes", Beijing: Zhonghua Book Company 2005 edition, page 125.
, Lanling Xiaoxiaosheng's "Jin Ping Mei Cihua", Beijing: People's Literature Press 1985 edition, page 10.
3, Cao Xueqin's "Dream of the Red Chamber", Beijing: Zhonghua Book Company, 1998 edition, page 620
4, Hegel's "Aesthetics" Volume 2, Beijing: Commercial Press 1982 edition, page 332.
5, Plekhanov's "On Western European Literature", Beijing: People's Publishing House 1957, page 121.
6, Danner "Philosophy of Art", Hefei: Anhui Literature and Art Publishing House, 1998 edition, pages 46-47,.
7, "The Analects of Confucius·Li Ren". See Yang Bojun's "Translation and Analects of Confucius", Beijing: Zhonghua Book Company, 1980 edition, page 39.
8, " Analects of Confucius·Duke Ling of Wei ". See Yang Bojun's "Translation and Analects of Confucius", Zhonghua Book Company, 1980 edition, page 168.
9, "Mencius·Chapter 2 of the Heart". See Yang Bojun's "Mencius Translation and Annotation", Beijing: Zhonghua Book Company, 2005 edition, page 339.
0, Bangu " Han Shu " Volume 56 "Biography of Dong Zhongshu", Beijing: Zhonghua Book Company, 2007 edition, page 570.
1 Feng Menglong's "Preface to the History of Love·Preface to the Dragon Son", "Full Works of Feng Menglong", Nanjing: Phoenix Publishing House, 2007 edition, Volume 7, page 1.
2 Feng Menglong's "Love History·Love Communication·Love Stone", "Full Works of Feng Menglong", Phoenix Publishing House, 2007 edition, Volume 7, page 932.
3 Yuan Huang "Theory of Love". See Volume 97 of "Supplementary Books of the Four Library of Wenyuan Pavilion", Beijing: Beijing Library Press, 2005 edition, page 726.
4 Tang Xianzu's "Collection of Tang Xianzu·Inscription on the Peony Pavilion", "Collection of Tang Xianzu", Shanghai: Shanghai People's Publishing House 1973 edition, page 1093.
5 Yuan Hongdao's "Jinfan Collection·Preface to the Small Poems", "Yuan Hongdao Collection and Annotation", Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 188.
6 Yuan Hongdao's "Collection of Liberation·Stories of Huishan", "Collection of Yuan Hongdao", Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 419.
7 Yuan Hongdao's "Following the Knowing of Zhang You Yu Zhenming", "Yuan Hongdao's Collection and Annotation", Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 193.
8 Li Zhi's "Burning Books·Reading the Lufu Theory", "Li Zhi's Collection of Documents", Volume 2, Beijing: Social Sciences Documents Publishing House, 2000 edition, page 23.
9 Li Zhi's "Burning Books·Praise by Self", "Li Zhi's Collection of Documents", Beijing: Social Sciences Documents Press, 2000 edition, page 121.
0 Li Zhi's "Burning Books·Reading as if you don't have a mother's letter", "Li Zhi's Collection of Documents", Volume 2, Beijing: Social Sciences Documents Publishing House, 2000 edition, page 132.
1 Xu Wei's "Epitaph for Self-Being", "Xu Wenchang's Three Collections" Volume 26, "Xu Wei's Collection" Volume 2, Beijing: Zhonghua Book Company, 1983 edition, page 639.
2 Xu Wei's "Preface to Ye Zisu's Poems", "Xu Wenchang's Three Collections" Volume 19, "Xu Wei's Collection" Volume 2, Beijing: Zhonghua Book Company, 1983 edition, page 520.
3 Jiao Rong's "Passage with Friends", " Danyuan Collection " Volume 12, Beijing: Zhonghua Book Company, 1999 edition, page 93.
4 Zhang Qi's "Hengqu Chen Tan·Love infatuated Words", "Comprehensive Chinese Classical Opera Theory" (IV), Beijing: China Drama Publishing House, 1959 edition, page 273.
5 Zhang Han's "A Record of Hundred Works", "Pine Window Dream Language", Shanghai: Shanghai Ancient Books Publishing House, 1986 edition, page 68.
6 Gu Yanwu's "Book on the Profit of the Counties and Countries in the World" Volume 32, Beijing: Commercial Press's third-edited photocopy of "Sibu Congqi".
7 "Boping County Chronicles" Volume 5 "Humanitarianism·Folk Customs Interpretation". "Chinese Local Chronicles Integration·Shandong Prefectures and County Chronicles 86", Nanjing: Phoenix Publishing House 2004 edition, page 503.
8 Volume 2 of Fan Lian's "Yunjian Jumu Copy", reprinted by the Fengxian Chu family in May of Wuchen in the Republic of China.
9 Yuan Huang's "Love Theory". See Volume 97 of "Supplementary Books of the Four Library of Wenyuan Pavilion", Beijing: Beijing Library Press, 2005 edition, page 723.
30 Yuan Hongdao's "Xiaobitang Collection·Deshan Litan" Volume 44, Shanghai: Shanghai Ancient Books Publishing House, 1981 edition, page 1290.
31 Li Zhi's "Burning Books·Praise by Self", "Li Zhi's Collection of Documents", Beijing: Social Sciences Documents Press, 2000 edition, page 121.
32 See the new exploration of the creation theme of my work "Jin Ping Mei", Journal of Henan University, Issue 4, 1994.
33 Ergong's "Jin Ping Mei Postscript", "Jin Ping Mei Ci Talk", Beijing: People's Literature Publishing House, 1985 edition.
34 Dongwu Nongzhuke's "Preface to Jin Ping Mei", "Jin Ping Mei Ci" Volume 1985 Edition, Beijing: People's Literature Publishing House.
35 Zhang Zhupo's "Bamboo Gossip", "Zhang Zhupo's Criticism of the First Strange Book of Jin Ping Plum", Jinan: Qilu Bookstore, 1987 edition.
36 Zhang Zhupo's "The First Strange Book Not a Porn Book", "Zhang Zhupo's Criticism of the First Strange Book Jin Ping Mei" Volume, Jinan: Qilu Book Club, 1987 edition.
37 Zhang Zhupo's "Reading the First Strange Book of Jin Ping Plum" 105, "Zhang Zhupo's criticism of the First Strange Book of Jin Ping Plum", Jinan: Qilu Bookstore, 1987 edition, page 49.
38 The beginning of the volume of the mangible text "Jin Ping Mei" in the 47th year of the Kangxi reign. Translated by anonymous, edited and punctuated by Huang Runhua and Wang Xiaohong, see "Literature" Volume 16, 1983.
39 Mengsheng "Novel Collection". See Huang Lin's "Compilation of Jin Ping Mei Information", Beijing: Zhonghua Book Company, 1987 edition, page 336.
Article Author unit: Henan University
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