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《野草》的创作深受佛家文化的影响,其意象序列的生成与佛家辩证思维的渊源极深。鲁迅借用佛家文化中的死亡意象、鬼魂意象、坟墓意象和地狱意象,体现出诸如超越生死极限、执着于普度众生、面对绝境而能勇猛精进等佛家文化的精神要义。佛家哲学是一种思辨哲学,它对于宇宙人生的深刻洞察,对于人类理性的高度反省,对于人的灵魂问题的最终回答,都使其标示出大智慧。佛家的思维方式又蕴含着极为丰富的辩证法思想,诸如“生灭”、“断常”、“来去”、“色空”、“自他”、“内外”、“体用”、“有无”、“因果”等范畴,程度不同地揭示了现象与本质、整体与部分、一般与特殊、原因与结果诸辩证关系。《野草》正是借助于佛家的辩证思维,形成了现代意象的再生和衍生机制。
The writing of weeds is deeply influenced by the Buddhist culture, and the origin of its sequence of images and the dialectical thinking of Buddhism are deeply rooted. Lu Xun borrows the image of death, ghost, grave and hell in the Buddhist culture to reflect the spiritual essence of Buddhism culture such as surpassing the limits of life and death, perseverance in Purdue, and braveness in the face of desperation. Buddhism philosophy is a speculative philosophy, which gives a profound insight into the life of the universe, reflects highly on human reason, and finally answers people’s soul questions to mark great wisdom. The way of thinking of Buddhism also contains extremely rich dialectical thoughts, such as “life and death ”, “often ”, “come and go ”, “color space ”, “from him ”Internal and external “, ”body “, ”without “, ”cause and effect “ and other categories, to a different extent reveals the phenomenon and nature of the whole and part of the general and special reasons and results of the dialectical relationship. It is through the dialectical thinking of Buddhism that ”weeds" formed a mechanism for the reproduction and derivation of modern images.