笑,为什么还说是悲剧呢?这是一个艺术辩证法的问题。在我国古代写作理论中,有一条“以乐景写哀,以哀聚写乐,一倍增其哀乐”的艺术法则(见《五船山文集》)。这种以侧面烘托的表现手法,在我国古代文学作品中是不乏先例的。《红楼梦》中的林黛玉,是一个多愁善感的女子。自从她来到贾府后,几乎天天哭、事事哭。林黛玉的哭,可以说已成了她的生活习惯,这也是悲剧性格的表现形式之一。可是,一生以冼泪面的林黛玉,当她知道很爱自己的贾宝玉已与薛宝钗结婚之后,她却发出了反常的笑。她听到贾母的假意安慰是“微微一笑”;听了由衷地同 Laughter, why is it still a tragedy? This is a matter of artistic dialectics. In ancient Chinese writing theories, there is an art rule of “writing music in music scenes, writing music in sorrows, and doubling their sorrows and pleasures” (see “Five Pieces of Anthology of Wu Chuanshan”). This kind of expression technique, which is set on the side, is a precedent in ancient Chinese literary works. Lin Daiyu in A Dream of Red Mansions is a sentimental woman. Since she came to Jia, she almost cried and cried all the time. Lin Yu-yu’s cry can be said to have become her living habits. This is one of the manifestations of the tragic character. However, Lin Yuyu, who had spent the rest of her life with tears and tears, made an unusual smile when she knew that her lover, Jia Baoyu, had married Xue Baozhen. She heard Jiamou’s false comfort is “smiling”; she listened heartily