Tang Monk is proud of being asexual, Sun Wukong disdains sex, Pig Eight Precepts is the only male hero with sexual feelings, and Sha Monk not only has no feelings for girls, but also for boys. When the four people went forward together, they were all in a regular state of mind, and there was nothing wrong with each other, but as soon as the woman appeared, it was bad, and the underlying sexual consciousness of the Eight Precepts of the Pig was very strong and frank, so the "drama" came.
Scholar Sun Shaozhen
Fiction: Causality, Playing Routines, and Emotional Misalignment
(This article is excerpted from Sun Shaozhen's lecture at the Hong Kong Institute of Education)
01
I'll invent a little theory myself
The reason why "Three Dozen White Bone Essences" has become a classic is because the original like-minded characters have a psychological "dislocation".
When we look at "Journey to the West", Sun Wukong, Tang Monk, The Eight Precepts of pigs, and sha monk Xitian took the scriptures, all along the way out of the routine of life. There are many monsters, one by one, they all want to eat Tang monk meat, Sun Wukong successfully knocked them down, what if they can't be defeated or defeated? Quite simply, find Guanyin, and if the monster makes a fool of himself, Guanyin will destroy it. Further on, I came across another one, and the old man called Guanyin bad, so he changed another person, such as the Buddha, and destroyed the monster again. But the reader forgets even the name of the monster. Because, in the process of fighting, has the mental state of Sun Wukong, Tang Monk, Pig Eight Precepts, and Sha Monk changed? Nothing has changed, it is all one heart and one mind, moving forward. This is not a good plot.
However, there is one monster that I am absolutely impressed with- the White Bone Spirit. Certainly not because she's a female monster. Don't be surprised by the female classmates in the front row, I have a deeper impression of you than she is. As soon as this female monster appeared, the feeling of the character was different, and Sun Wukong looked at it, and the white bone essence beat her to death with a stick. He has a golden eye! Tang Monk looked at it, a kind woman. We go to the western heavens to take the Mahayana sutras to save people, so that people will live forever, and before we get the sutras, you will kill them. That's a big problem. And the pig eight precepts a look, hey, so beautiful, so wonderful! Because the heroes of "Journey to the West" are usually asexual, Tang Monk is proud of being asexual, Sun Wukong is disdainful of sex, and he jumps out of the stone. Inohachi is the only male hero with sexual feelings. Of course, the sand monk was the worst, not only did he not feel for girls, but he also had no feelings for boys. When the four of them went forward together, they were all conventional mentalities, all monks, and they were all at peace. But as soon as the woman appeared, it was bad, so the feeling of the Eight Precepts of the Pig became more and more conventional, and the underlying sexual consciousness was very strongly and very frankly revealed, so the "drama" came, causing great disaster, causing Sun Wukong to be expelled, Tang Monk and others were arrested by the white bone essence, placed in the steamer, almost buried the cause of the Western Heavens, and the Eight Precepts of the Pig himself almost gave away his old life. People who are usually of the same heart and one mind, those differences in their hearts are exposed, and people become different.
The greater the amplitude of "dislocation", the more vivid it is, the more personality it is, and the more dramatic it is. Small selfishness, large serious consequences, form a contrast, constitute a strange. This kind of weirdness is still very cute, in the situation at that time, like girls, called "color", is a violation of the precepts, generally hidden in the heart, the eight precepts of the pig is blatant: always so, very calm. Wu Cheng'en did not let the Tang monk be eaten by the white bone essence, and did not let the selfish intentions of the eight precepts of the pig cause irreparable consequences, which made the image of the eight precepts of the pig ridiculous and cute, showing a kind of comedy. Classical Chinese heroic legendary novels are abstinent for a long time. Heroes are asexual, and strong sexual consciousness is ridiculed, such as Wang Ying, the short-footed tiger in "Water Margin". But Wu Cheng'en's genius lies in giving the pig a very ugly pig's head in appearance, and giving him a very cute male indelible psychological characteristics in his heart.
My theory is different from many Western theories, they are often satisfied with description, and ignore the evaluation, I think, the task of the theory, not only to explain, but also to evaluate, with evaluation, in order to promote the practice of creation and reading. Therefore, revealing its structure, revealing its function, is not the ultimate goal, the ultimate purpose is to reveal the advantages and disadvantages of its function. What kind of plot is a good plot? What kind of plot is a bad plot? Sun Wukong's master and apprentice have fought so many monsters along the way, who can remember? Once I hit the white bone essence, I remembered it. Why have so many plots been forgotten? Because, there is no routine, there is no second mentality, especially there is no psychological misalignment of like-minded teachers and apprentices. The advantage of "three dozen white bone essences" is that there is a deep second mentality of psychology, the emotional dislocation of the master and the apprentice, and the comedic style, so it is a good plot.
Why three dozen? Because people's usual psychology is a deep structure, people's surface structure is quite closed, once there is an external event, it will be automatically and quickly adjusted, so that it can return to its original appearance, only repeated impact on the key points, the inner mentality is too late to cover up, will be exposed. One dozen can't work, two dozen can't do it, just three dozen, so classical Chinese novels emphasize twists and turns, three dozen Zhujiazhuang, three please Zhuge Liang, yue opera has three look at the royal sister, why? To repeatedly impact it, to strike it to a critical point, to expose the deep structure of his heart and the misplaced mentality of others. This is a very significant feature of classical novels, episodic novels, including Jin Yong's novels.
In general, the function of the plot, the first is to play the routine, the second is to expose the second (deep) mentality, and the third is to cause emotional misalignment between the characters.
The most important thing here is the third point: misalignment. Although the effect of playing the conventional is deep psychology, the best effect of deep psychology is to misalign the characters in the same emotional structure; and it is the emotional dislocation that leads to new emotional deep mysteries, thus promoting the development of the plot. For example, the climax in "Dream of the Red Chamber" is of course the death of Lin Daiyu. This is a result, but the reason is multiple emotional misalignment. Cao Xueqin began by saying that she opposed the use of a villain to provoke it as the whole cause of the crisis. The death of Lin Daiyu in "Dream of the Red Chamber", as a tragic ending, its brilliance lies in multiple emotional dislocations. The decider of the tragedy is naturally Jia Mu, but Jia Mu did not choose Xue Baochao and veto Lin Daiyu because she hated Lin Daiyu and Jia Baoyu. On the contrary, first, Jia Mu chose Xue Baochao because she loved Jia Baoyu too much, but the result caused Jia Baoyu to be sad and almost crazy to become a monk; second, Jia Mu chose her precisely because she deeply loved Xue Baochao, so that Xue Baochao pretended to be Lin Daiyu and Jia Baoyu married, and the result was to be a widow for life; third, Jia Mu did not not love Lin Daiyu, and it was precisely because of excessive pampering that Lin Daiyu and Baoyu ate and lived together from childhood, resulting in extraordinary feelings between the two; fourth, Jia Mu because of Lin Daiyu's "heavy heart". And it seems that it is not very long-lived, if you choose her, you will not be able to face the husband underground in the future, so you did not choose her. However, her choice led to Lin Daiyu's death and Jia Baoyu's renunciation, and according to her logic, she was even more unable to face her husband in the future. And Wang Xifeng designed Xue Baochao to impersonate Lin Daiyu, not to let Jia Mu fall into grief, but to please Jia Mu, not to harm Jia Baoyu, but to give his illness "Chong Xi". The synthesis of all these dislocations constitutes the tragic ending of "Dream of the Red Chamber".
From this, the theory that the aforementioned episodic cause and effect is emotional cause and effect can be deepened: the highest level of emotional cause and effect is compound misalignment of cause and effect.
For the last forty times of "Dream of the Red Chamber", no matter how much difference in the evaluation of artistic achievement, in terms of the tragic ending caused by the misalignment of love, it is indeed a great spectacle in the history of world literature. Tolstoy's writing about Anna's decision to commit suicide uses a method close to stream-of-consciousness, with the misalignment of the memories and scene fragments intertwined on the carriage, writing that her memories and Vronsky were very close when they first fell in love, but after cohabitation, they were far away, and hatred arose after the end of love, and in terms of the richness of the dislocation, it was even worse. After Lin Daiyu's death, seven or eight people came to cry, but the connotation of each person's tears was different, containing a variety of dislocations.
If this is not a big mistake, then the interpretive function of the literary canon is quite extensive. For example, it can be used to explain the tragic plot of "Thunderstorm": Lu Shuping knew that Sifeng and Zhou Ping's love for Zhou Ping was already incest, and agreed to her and Zhou Ping's escape out of love for Si Feng; while Fan Yi, out of love for Zhou Ping, called Zhou Puyuan out; Zhou Puyuan revealed the blood relationship between Si Feng and Zhou Ping because of his self-righteous integrity, and the result was that Si Feng and Zhou Ping committed suicide in different ways.
Why are we middle school language teachers, including university professors, often helpless to analyze literary texts? Where are the difficulties? There are two: First, you have to like literature, use your life to understand it, let it translate into logical and rigorous discourse, which requires a little originality. Second, if there is no originality, it is necessary to rely on Western theory. However, the Western theories that some teachers rely on are old antiques, too backward, too decaying; and our literary and art theory circles are too cutting-edge, too fast to update, occupying the commanding heights of discourse, deconstructing, and busy subverting. The strangest thing is that Eagleton's Theory of Twentieth-Century Literature and Jonathan Kahler's Theory of Literature, both titled "Literary Theory," conclude that there is no such thing as literature. I was very angry when I read it, I was originally studying literature, I want you to provide a little literary theory, but he said that there is no literature, only literature, in advertising, in fashion, everywhere, that is, there is no literature itself. I thought, don't pay attention to him, I will invent a little theory myself: play the routine, reveal the unconventional mentality, and make like-minded people psychologically misplaced. What can have such a function is a good work, which is very simple. It doesn't take much talent to know it all.
02
Psychological dislocation between characters
In Western novel theory, character personality is very important, with special emphasis on personality commonality and the unity of personality. This pair of categories had a great influence in China, and hu feng and Zhou Yang debated it feverishly in the 1930s, and remained the focus of debate until the 1950s. However, I think that the reason why this controversy has not been resolved is that the problem is not correct: the unity of the opposition between individuality and commonality is not unique to the personality of the character, but the common of all things, whether it is a rag or a lace news, whether it is a planet or an apple, it is the unity of personality and commonality, and it is precisely because of this that looking at the world from a grain of sand and looking at the sea from a drop of water can become the consensus of the world. Methodologically speaking, analyzing individual characters in isolation is not essential, and the plot of the novel is the dynamic process of the relationship between people. Vertically, with the discovery of the deep psychology of the characters, and horizontally, with the differentiation of the dislocation relationship between the characters, there can be personality.
The key to the novel becoming a novel is to write about the psychological dislocation between the characters and the characters.
This is perceived by Russian formalists. Szclovsky said in The Composition of Stories and Novels: "A happy love of mutual admiration does not form a story" and "what a story needs is an unsmooth love." For example, when A falls in love with B, B feels that she does not love A; and when B falls in love with A, A feels that she does not love B. ...... It can be seen that the story not only needs to have a role, but also needs to have a reaction, there is some kind of inconsistency." But, in my opinion, this Sklovsky's generalization is not sufficient. Because this phenomenon is not limited to love, but a universal law of all character relationships, from friendship to family affection.
To make the problem clearer, allow me to take the example of the "straw boat borrowing arrows" without love.
Lu Xun said that the Romance of the Three Kingdoms was a failure to write about Zhuge Liang, "more wise and close to the demon", which means that the author wrote Zhuge Liang very smart, very wise, and not as wise as a person. Lu Xun spoke a little harshly, not to mention Superman, but like a monster. Does this make sense? Makes sense. From a scientific standpoint, how could Zhuge Liang predict the weather, so accurately, even more powerful than our Central Meteorological Observatory. If we stick to the theory of truth, it is that the text is not right, the truth of science and the beauty of aesthetics are two kinds of values, as works of art, the premise of our questions is the misalignment of aesthetic values and scientific values.
"Straw boat borrowing arrows" is good in the psychological misalignment between allies. Zhou Yu asked Zhuge Liang to discuss the matter, ostensibly to defeat Cao Cao, but in essence to kill Zhuge Liang. Saying that now that we are fighting with Cao Cao, all the conditions are met, that is, one thing is not enough, what? No arrows. There are bows, there are boats, but there are no arrows. What to do? We, the Alliance, invite you to accomplish this glorious task. How much did Zhuge Liang say? 100,000 sticks. How much time does it take? Zhou Yu said, ten days. Zhuge Liang said, it seems that it is not necessary, three days is enough. Zhou Yu was overjoyed, right in the middle. Zhou Yu said that there was no joke in the army. Zhuge Liang said that he would make a military order, sign a letter of guarantee, and kill his head if he did not succeed. After signing it, walk out of the tent. Zhou Yu's subordinate, Zhuge Liang's friend Lu Su, who was more loyal, complained to Zhuge Liang: "How can you sign such a contract?" What if I can't finish it? "Zhuge Liang finished talking about the egg, you save me." Lu Su said, you found it yourself, how can I save it? Zhuge Liang said, you can save, you prepare twenty small boats for me, the boats are full of straw, green cloth for the mantle, three days later, we will go to the river to get arrows. Lu Su said that this is easy. Zhou Yu knew and thought to himself, Zhuge Liang was looking for death.
Sure enough, on the first day there was no movement, the next day there was no movement, and on the third morning Zhuge Liang pulled Lu Su and said that we should go to the river to get arrows. Lu Su said that this is easy. Zhou Yu knew and thought to himself, Zhuge Liang was looking for death. Sure enough, on the first day there was no movement, the next day there was no movement, and on the third morning Zhuge Liang pulled Lu Su and said that we should go to the river to get arrows. The "Romance of the Three Kingdoms" wrote: It was a foggy day, twenty small boats lined up, Zhuge Liang dragged Lu Su to the middle cabin to drink, and ordered the drum to march. Lu Su said no, it's all scarecrows, plus a few military bands, so much fanfare, isn't it sent to the door to be a prisoner? Zhuge Liang said, I had already calculated that three days later there would be heavy fog on the river, and I expected that Cao Cao this guy was suspicious, the fog was thick, I attacked him, he must have thought that I had an ambush, did not dare to come out, and must have shot the foot with an arrow, just on my scarecrow. Sure enough, the detective reported to Cao Cao that Zhuge Liang had come to attack, and Cao Cao said that Zhuge Liang was usually very cautious in using soldiers, and never dared to take risks, and now that he was attacking in such a large scale, there must be an ambush, don't be deceived, I have long seen this guy's conspiracy and trickery, and ordered him to shoot the position with an arrow, shooting for more than an hour. The scarecrow in front of the boat was full of shots, but the scarecrow in the back was still empty, Zhuge Liang said, turning the bow of the ship to the east and the stern to the west, and let him shoot again, and shot for another hour or so. At more than nine o'clock, the sun came out, the fog was about to dissipate, the straw people were all hedgehogs, Zhuge Liang said, Zi Jing, collect the soldiers, and call the soldiers of the military band to shout together: "Xie Cheng Xiang gave the arrow." Then he went back to Jiangdong, went to the riverbank to unload the scarecrow, pulled down the arrows and counted them, more than one hundred thousand.
This is something that Lu Xun can't believe, but I believe, why? Knocking him into the second environment, into the realm of assumptions, assuming that he could anticipate the fog three days later, assuming that he expected Cao Cao to be suspicious and correct, to show the deep psychology of the characters. Where is the deep psychology? The key here, I think Lu Xun did not see clearly, is the relationship between Zhou Yu and Zhuge Liang. From the perspective of practical values, Zhou Yu and Zhuge Liang are allies, the greater Zhuge Liang's ability, the more Zhou Yu can win, but although Zhou Yu is very loyal to his cause, he has a psychological problem - more jealousy. The psychology of jealousy has a characteristic, that is, it is close and at the same level, because there is a ready-made comparability. Zhou Yu was jealous of other people's talents. He was not jealous of Cao Cao, nor was he jealous of Sun Quan, he was jealous of his allies, and people who were similar to him could not tolerate him whose skills were higher than his. On the surface, he asked Zhuge Liang to discuss all against Cao Cao, but in fact, they all fought with Zhuge Liang for wisdom, and they all wanted to overwhelm Zhuge Liang, and even wanted to kill Zhuge Liang.
The artistic talent of the author of "Romance of the Three Kingdoms" is concentrated on making Zhuge Liang expect that there will be fog for three days, making him expect Cao Cao to be suspicious, and making him predict success, which produces a wonderful and wonderful triangular dislocation. Zhuge Liang's wisdom was forced out by his allies Duo Jealousy. Moreover, he adopted an adventurist strategy of marching on the river, and then encountered another enemy, this is a very talented, very good at fighting, and has a psychological problem - paranoia. Because of his paranoia, the adventurous polywitness has won a great victory, so the multi-wise are more intelligent, so wise that without the east wind, they can borrow from God, of course, the more jealous they are more jealous.
Such a triangular dislocation, in the process of development, expanded layer by layer, and the dislocation also increased layer by layer, and finally, repeatedly competed, Zhou Yu lost, where did he lose? I felt that my wisdom was inferior to Zhuge Liang's. Since my wisdom is not as good as Zhuge Liang's, I don't want to live. The three qi Zhou Yu lu hua, Zhou Yu lost his wife and folded the soldiers. I am not as wise as you, I can't live, I don't want to live. When he was dying, Zhou Yu said a famous saying, "Both Shengyu, He Shengliang", which can explain the relationship between Ma Ying-jeou and Song Chuyu: "Yuliang complex". "If you are born yu, why is he born bright?" He can't live, not to blame himself for his narrow temperament, but to blame God, God, God, since you gave birth to zhou Yu, who is so smart as me, why did you give birth to a Zhuge Liang who is smarter than me, since his talent is higher than mine, I can't live by my side. The amplitude of the triangular misalignment between the second mentality of the ally is directly proportional to the vividness of the image, and the greater the amplitude of the dislocation, the more vivid it is. Zhou Yu has been dead for thousands of years, but Zhou Yu is still alive in our hearts, which is the great place of "Romance of the Three Kingdoms". Lu Xun did not understand this hypothetical greatness: if Zhuge Liang was not allowed to predict the weather superhumanly, if he did not borrow the East Wind, the psychological misalignment would not increase layer by layer, and Zhou Yu would not die so "wonderfully".
The "straw boat borrowing arrows" in history is not Zhuge Liang's business, but precisely Sun Quan's business. Sun Quan once inspected Cao Cao's water army, was discovered by Cao Cao, Cao Cao ordered archers to shoot arrows, shot at Sun Quan's ship, the arrows are weighty, some people counted about four or two. Then a thousand arrows, a few hundred pounds, the boat will overturn, so Sun Quan ordered the boat to drop in another direction, so that the two sides were balanced. But this is a tactical wit, practical rationality, a scientific causal relationship, and does not have the aesthetic value of art.
It turned out that the records in the "Romance of the Three Kingdoms" showed that the main credit for the Battle of Chibi was Zhou Yu's, and Zhuge Liang was just cooperating. Many battles have nothing to do with Zhuge Liang. However, what makes the Romance of the Three Kingdoms different from the Romance of the Three Kingdoms is that it virtualizes the psychological dislocation between Zhou Yu and Zhuge Liang, and with this as the outline, it has become the general outline of the main psychological dislocation system of the Battle of Chibi. All contradictions arise from the psychological dislocation of Zhou Yu and Zhuge Liang. Sun Wu's recruitment of relatives is also a mismatch between Zhuge Liang and Zhou Yu; Liu Bei's slippage is also a contest between Zhuge Liang and Zhou Yu; Cao Cao was beaten to death, and finally released by Guan Gong, this is fictional, there is no such thing, why it became a very important part of the Battle of Chibi, because there was a mental misalignment with Zhuge Liang. Guan Gong was very arrogant and very confident, Zhuge Liang did not use him, he said you can't complete the task. Guan Gong said, if I can't complete the task, I will kill the head and make a military order, but in the end, it is not completed, and Guan Gong let Cao Cao go. Therefore, the entire Battle of Chibi became a psychological misalignment between Zhuge Liang and others, mainly Zhou Yu, but also Related Gong. This is called aesthetic value, this is called the dislocation of the logic of emotion.
03
The emotional dislocation of the characters is fundamental to the novel
The emotional dislocation between the characters is fundamental to the novel, and the dislocation is more important than the plot. Sometimes, there is no plot or deliberately avoids the positive performance of the plot, as long as the dislocation of emotions is pulled away, it may also be a wonderful novel, such as Lu Xun's "Kong Yiji". Sun Fuyuan once asked Lu Xun which novel in "Scream" was the most, and Lu Xun did not mention "Diary of a Madman" or "The True Biography of Ah Q", but said "Kong Yiji". The novel "can describe society's indifference to bitter people in a few pages, without hurrying, irony and not very revealing, and has the style of everyone." Lu Xun did not give a positive account of Kong Yiji's fall, stealing books, and being beaten and maimed. The novel only selects three scenes, while Kong Yiji himself only appears twice at the Ham Heng Hotel.
Here are the aesthetic principles of the novel as shown by Lu Xun, and what is important is not the character's encounter, but the dislocated perception of the character in the eyes of others. There are multiple dislocations in the novel. His book stealing was used as a joke, and "all the drinkers looked at him and laughed." "Laughter" is aimed at the fallen sufferer, which is the first dislocation. His attitude of denying stealing books is very firm, but the denial argument that "stealing books cannot be considered theft" is very weak. Everyone laughed, and Kong Yiji, who brought laughter, not only did not laugh, but was even more embarrassed. This makes the laughter contain a little bit of melancholy. The bystander's merciless mockery of the continuity of the weak makes the weak wolf, and the weaker the wolf, the more the bystander laughs happily. Kong Yiji still maintained his remaining self-esteem, but this maintenance was obviously ineffective, causing "everyone to laugh." The more profound dislocation is that the person who makes the cruel laugh does not have too obvious malice, and there is also the meaning of forgiveness. The mental cruelty is terrible enough, and what is even more terrible is that the giver does not feel harsh, does not think of the hurtfulness contained in it, but feels that there is no malice, like a kind joke. All of them seemed to be hostile and malicious, and even contained in their words some sort of joking or friendly character. But for Kong Yiji, it is the final destruction of the residual self-esteem. What is important is not Lu Xun's grim satire of life, but his breakthrough in the normative form of novel art. With misplaced emotions, plot and even personality are dispensable.
It is precisely because of this that we appreciate and analyze novels, and it is not enough to have the consciousness of aesthetic value, but also the consciousness that the normative forms of literature, the different norms of different literary forms cannot be confused, and the aesthetic norms of different literary forms are like different blood types. Our level of appreciation often depends on our sensitivity to the intolerable differences between art forms. The easiest way to improve the level is to compare different forms of works of the same genre.
For example, the love between Li Longji and Yang Yuhuan is written in poetry, how to write it? Like Bai Juyi wrote in "Long Hate Song": "On the seventh day of July, when no one whispered", it is not enough to be a husband and wife in this life, and it is still necessary to be a husband and wife in the next life. When life exists, they fall in love, Yang Yuhuan dies, and even becomes an immortal, but he still does not change his original intention. "In heaven wish to be like a winged bird, in the earth wish to be a branch", "the sky is long and sometimes ends, and this hatred is endless" It is absolute, "in heaven", "on earth", as far as the universe is concerned, my love is not limited by space. "Heaven and Earth" is about time, and my love is not limited by time, it is absolute. It's poetry, two people with hearts in their hearts, but of course that's not the case. However, in the novel, such as song Ren's "Taizhen Wai Biao", the two people have no personality to speak of if they are so heart-to-heart. Of course, "Tai Zhen Wai Biao" is weaker in art. On the same subject, the opera "Hall of Eternal Life" and the novel have similar laws in the dislocation of the relationship between the characters.
The most vivid thing in "The Hall of Eternal Life" is that Li Longji and Yang Yuhuan are in love on the one hand, and on the other hand, they are misplaced. Yang Yuhuan was very bitter, because Emperor Tang Ming not only had one wife, but also a Concubine Mei, who was a native of Fujian and a fellow villager of Mazu; there was also a love enemy, that is, her sister Lady Yuguo. And Li Longji and them have an affair, Yang Guifei is jealous, and Li Longji is angry. Twice jealous, Yang Guifei was driven back twice. But Emperor Tang Ming could not eat. Colliers called her back again, which has personality and drama, so in narrative drama literature, the protagonists who love each other cannot be heart-to-heart, but can only be wrong-minded.
This shows that in poetry, people are more metaphysical, and feelings are more generalized; in novels and dramas, people are more specific and metaphysical: Yang Guifei is jealous, Li Longji is angry, this woman is bored to death, get out of the egg! But as soon as she left, he couldn't live anymore, and called her back, which is the play. It is necessary to misalign people who love each other and have feelings, and if they never have contradictions, it is poetry, not fiction. It is necessary to let the relatives, friends, comrades-in-arms, and husbands and wives who love each other have deep feelings, but the feelings must be misplaced. I am not talking about contradictions, it is dislocation, that is, part of the overlap, part of the pulling: pulling away the dislocation distance, it is good; what cannot be pulled apart is not good.
So you have to write a novel, study the plot, structure, personality of the novel, you have to see that those who have feelings are far apart to be vivid. You have to let Jia Baoyu and Lin Daiyu "torture" each other to be vivid. If Jia Baoyu sees Lin Daiyu, ah this girl I have seen, Lin Daiyu sees Jia Baoyu, ah this young man is really good, the two of them are good, everyone does not object, just like Bai Juyi wrote "Long Hate Song", love at first sight, life and death, there is no novel to speak of. Why is "Dream of the Red Chamber" great in art? It is to let the people who love each other "misplace" emotionally all day long, endlessly torturing each other. Lin Daiyu's artistic personality lies in the fact that she is suspicious, critical, and torturing her most beloved person all the time, letting him review it all day long, and reviewing it or not. With this dislocation, there is something to write about.
No matter how much they love each other, they can't have a heart seal, and those who love each other can only have life if their hearts are wrong. For example, in Ba Jin's "Home", Old Lady Gao wants to marry Mingfeng to Feng Leshan as a concubine, and on the last night, she comes to find Juehui. If the communication is smooth and the two people run away together, that is, there is no misalignment, it will not be moving. Mingfeng wanted to tell Juehui, and Juehui said that she was very busy now, and said that I would go to you for some time. Ming Feng was desperate and decided to be martyred when he left. When Juemin told Juehui, Juehui would chase after him, and if he caught up, there would be no misalignment, and of course, it would not move. When it was chased, Mingfeng was already floating on the surface of the lake. In this way, the dislocation of the person who loves each other is greater, and thus the shocking appeal occurs.
In this sense, it is not difficult to analyze novels, including writing novels, as long as the heart is a little fierce, do not let the hearts of those who love each other, and constantly make them feel wrong. But it doesn't matter if you don't misalign her, I divorced her, I went to the United States, you are in Hong Kong, never see you again, there is no drama. I want to divorce and can't get away with it, and then you meet again in Hong Kong, I was going to ignore you, but I still had to look at it, and I laughed when I saw it, and I had a play to write about. It's like a joke, a parody, but in fact, it's the law. We see Ba Jin write a new, very wonderful, wonderful key, is to first let him fall in love with Cousin Mei, but do not let him and Cousin Mei combine, let Cousin Mei marry someone else. If that's it, the appeal is limited. The secret of Ba Jin's art is that he let Cousin Mei die of her husband, and let her always stay in the high mansion, always have the opportunity to get along with Juexin. This is a good play, there is a character.
Therefore, I think that literary theory, novel theory, the theory of foreigners saying a big car, god is like a god, mysterious and mysterious, and it is not clear what problems are, and even literature and novels are gone. In my opinion, they are a bit self-inflicted, and they are not as effective as me in playing the routine, deepening the psychological level, and pulling away the dislocation distance.