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《红楼梦》的虚实相生与真假变化,是作者一开头就大书特书的。后来又经脂砚斋几位评家不断点明。再加上很多高明的读者的意见,如俞平伯在《读红楼梦随笔》中,就反复提醒我们要注意故事的虚中实,实中虚(俞平伯625—806)。本人觉得曹雪芹已经找到了创作的源头,故事变化为虚实相生的作用,似不费力便使苦心孤诣的艺术“模彷而重建”了造化天工的自然。 表面上,全书的回目上下联都是虚实相对,更有虚中实与实中虚的相对。骨子里,在人物、情节与境界上,有更灵活、更有机的虚实相生。《红楼梦》之实,来自“曹学”研究,包括作者生平,历史背景,物质环境,与经济条件。而本书之虚,则来自“红学”之精华,抒情诗歌的追寻精神,作者对人生主观的感受,决定他创造的客观世界。本书前五回又建立了神话的架构,整个故事中洋溢着诗歌的韵味。
The reality and false change of the actual situation in “Dream of Red Mansions” is the author’s first book on the big book. Later, several critics of Zhiyanzhai continued to point out. Coupled with the opinions of many clever readers, such as Yu Pingbo’s “Reading A Dream of Red Mansions essay,” he repeatedly reminded us to pay attention to the factual reality of the story, which is actually empty (Yu Pingbo 625-806). I think Cao Xueqin has found the source of creation, the story changes to the role of the actual situation, it seems easy to make painstaking art “to imitate and rebuild” the nature of nature. On the surface, the book’s entry back and forth are the relative real and the virtual, more virtual real and virtual relative. Bones, in the characters, plot and realm, there is more flexible, more organic reality. “Dream of Red Mansions”, from “Cao Xue” research, including the author’s life, historical background, material environment, and economic conditions. However, the deficiency of this book comes from the essence of “Redology”, the pursuit spirit of lyric poetry, the author’s subjective experience of life and the objective world he has created. The first five chapters of the book also set up the framework of mythology, the whole story filled with the charm of poetry.