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The Essence Of Dress Culture In The Romance Of The Three Kingdoms

2011/2/22 9:35:00 292

After reading the romance of the Three Kingdoms, it is difficult to avoid a puzzle: Hu Shi first raised it from the unofficial history to the authentic history of literary history. However, his literary evaluation was very low. He said that the author was "ordinary vulgar scholar, not a talented writer, nor a brilliant thinker". In fact, Hu Shi's criticism is not biased.

Great novels Art Verve

Contrary to Hu Shi's statement, the romance of the Three Kingdoms did not copy history, but rearranged history greatly. It does not focus on the military struggle between Sun Liu alliance and Cao Cao, but regards the contradiction between Zhu Geliang and Zhou Yu as the core of the plot. It concentrates all aspects of psychological warfare on the battle between Zhou Yu and Zhu Geliang, and intertwined the rationality of wits and the emotions of fighting.

Take the battle of Chibi as an example, in the Three Kingdoms, the protagonist of the battle of Chibi is not Zhu Geliang, but Sun Quan and Zhou Yu. Zhu Geliang is only a supporting actor. In the Northern Dynasties, Li Dao Yuan said in the book of water classics, "the left side of the river is hundreds of hills south of the river, and the north of the Chibi mountains is right." Zhou Yu and Huang Gaizha Wei Wu's army were also located. In Tang poetry, Chibi is only associated with Zhou Lang. In Li Bai's farewell song of Chibi, there was "two dragons fighting" and "Chibi song". Zhang Tianzhao, the sea of fire, Zhou Yu broke the Cao Gong. Du Mu "Chibi" cloud "east wind is not with Zhou Lang, copper sparrow spring deep lock two Joe." As a historical point of view, this can be said to be a consensus, and roughly divided into three stages. One is Sun Liu's alliance, the first is the strategic initiative of Lu su. After that, Zhu Geliang takes the lead in the situation; the two is Zhou Yu's cheating and fire attack, Liu Bei is well coordinated; three is the epidemic of Cao Cao's disease, and Cao Jun takes the initiative to withdraw.

In the romance of the Three Kingdoms, it is Zhu Geliang Everywhere passively take the initiative, gradually overcome Zhou Yu in intelligence and make the epic scroll of the battle of Chibi become a grand drama of magnificent psychological contending. First, Zhu Geliang's tongue and Confucianism and sun Liu united front, Zhu Geliang incited Zhou Yu's spirit and harnessed Zhou Yu, thus resolving the contradiction between the civil servants of Soochow and the war of the generals, so as to launch the prelude to the battle of Chibi. Second, the United Front's internal conflicts, Zhou Yu's mastermind, sun Liu's marriage, Sun Quan, Liu Bei and so on each motive, and all these are all under Zhu Geliang's control, Zhou Yu, who is in the dominant position, has suffered a series of miscalculations. Third, in the positive military conflict, Zhu Geliang overwhelmed Zhou Yu with extraordinary intelligence. Taking the "east wind" as the turning point, the crisis of Zhu Geliang and Liu Bei was completely resolved, and the author gave Zhou Yu a brilliant victory in the battle when he was defeated in strategy, thus pushing the battle of Chibi to a climax. Fourth, the author let Zhu Geliang know about Zhou Yu's leading bitterness, chain plan and counter plan. The most important thing is that the author concentrates the relatively independent clues on Zhou Yu's killing of Zhu Geliang. Fifth, in such a complex mind, the author also sent his hand to put Cao Cao as the end of Chibi's victory in Guan Gong Huarong road. Even Lu Xun, who had a critical attitude towards the art of romance of the Three Kingdoms, had to praise this wonderful performance. {page_break}

It is in this way to transcend the artistic conception of "Three Kingdoms". The romance of the Three Kingdoms has made the three party wars of the enemy and friends, the false, real and real multiple strategies, the true and false false psychological dislocation, and formed a conundrum of stereoscopic plot structure. In the leisurely way of harness, there is no lack of pen for "busy in leisure", such as arranging Lu Su's intermediary characters between Zhou Yu and Zhu Geliang to increase the level of psychological contrast. It can be said that the romance of the Three Kingdoms is a masterpiece, not only in the history of Chinese novels, but also in the history of world novels.

Reading practice subverts authority

Lu Xun held a negative attitude towards the art of romance of the Three Kingdoms. Hu Shi and Lu Xun said that their literary imagination is not enough. Instead of Lu Xun, Zhang's "seven real, three false, confused viewers" lead to "mixed words, easy to confuse". The two scholars, a reproach, did not imagine that they had made enough fiction, and one blamed it for being too imaginative. However, the two people are totally consistent in denying Zhu Geliang's image. Lu Xun assert that Zhu Geliang's image is "more intelligent and closer to the devil"; Hu Shi believes that the author "strongly describes Zhu Geliang, but they only know that" wise and resourceful "is Zhu Geliang's great skill, so Zhu Geliang has become a priest for offering sacrifices to the wind and divine intelligence. It is for the fact that he has to admit that a brilliant tongue fighter, who reads, "feels ordinary and shallow. As for "three breath Zhou Yu", it is still a very shallow description, to write a charming Zhou Lang as a jealous and submission villain, and to write Zhu Geliang as a treacherous and treacherous villain. This concept has been popularly played in Yi Zhongtian's "Three Kingdoms" recently.

But " Romance of the Three Kingdoms The history of reading proves that readers do not buy authoritative accounts. The romance of the Three Kingdoms is not only known to China but also widely loved in Japan and Korea. The practice of reading subverts the assertion of authority. What is the mystery of art life in the romance of the Three Kingdoms? Because of the limitation of space, we can only use "grass boat to borrow arrow" to make a cell morphology anatomy.

In terms of the so-called "multi intelligence and close to demon" or "Taoist priest who offered sacrifices to the wind and sacrificed the stars", if the literary method is simply "unscientific", the romance of the Three Kingdoms will no longer exist, and Chinese and foreign classical novels can be spared. Such fiction is only the presumed function of novels, especially the plots of ancient legends: to put characters outside the norm in order to reveal their deep psychological secrets. It is not the copying of historical documents but the accumulation of artistic imagination for hundreds of years. This history originally belonged to Sun Quan, who was transferred to Zhou Yu's name in the "Three Kingdoms Ping Hua" and failed to fight Zhu Geliang's "eight poles". In the romance of the Three Kingdoms, this wisdom was concentrated on Zhu Geliang, and the plot function changed fundamentally. In the process of borrowing arrow, the author added another factor of natural weather: heavy fog. To let Zhu Geliang predict the weather accurately, the art secret is not to show Zhu Geliang's "intelligence" but to others. First of all, put it in the war of spirit between Zhu Geliang and Zhou Yu, and the more Zhou Yu stunned Zhu Geliang, the more he tried to kill him. Secondly, put it in the contradiction between Zhu Geliang and Cao Cao. {page_break}

Zhu Geliang's "multi intelligence", if isolated, is indeed a near Warlock. But his superhuman intelligence is not limited to surreal spells like Gongsun Sheng in the water margin. Its artistic value lies in the fact that his "multi intelligence" is forced by his ally Zhou Yu's "jealousy". Zhou Yu is a "good man" and Zhu Geliang is also a "good man". But Zhou Yu, the "good man", has a mental problem, that is, "jealous". His "jealousy" is that no one can surpass him in wisdom. The author let Zhu Geliang, who is weak in strength, surpass Zhou Yu in wisdom and win absolute victory. But it is still hard to win by relying on "multi intelligence" to accurately predict the weather. It is expected that there will be fog after three days. There is a certain probability and lack of sufficient inevitability. At this time, the genius of the author is manifested in designing the psychological characteristics of enemy Cao Cao: suspicious. "Jealousy" has driven out "multi intelligence" and "multi intelligence" has come across "suspicious". "Multi intelligence" adventurism has won a great victory because of "suspicious", so "jealous" is more "jealous" and "more intelligent" is more "more intelligent". And "many jealous" people repeatedly lose their minds, and finally, "three spirits Zhou Yu and Lu Hua Dang". Zhou Yu finally realized that he was not as intelligent as human beings. What is even more wonderful is that the author let Zhou Yu, who is "jealous", send out the feeling of "Yu Sheng Yu and He Shengliang" at the end of his death.

The depth of the romance of the Three Kingdoms lies in the fact that it not only reveals the personality of Zhou Yu, but also summarizes some dark side of human psychology. Zhou Yu died at last, but the "jealous" mentality still lives in the proverb of "Wu Dalang opens shop". The artistic value of Zhu Geliang's "more intelligent and closer to the devil" is concentrated on this point. Zhou Yu did not die entirely because of military failure, but rather conscious of his own intelligence. This hero is living for his superior sense of resourcefulness. Once he is convinced that he is smarter than himself, he is very unhappy. The two surrealistic imaginations, which are borrowed from arrows and borrowed from Dongfeng, are the function of the plot to turn the military triangle struggle into the psychological triangle dislocation of the three party and the enemy, and turn the wits into the fighting spirit, so that the emotional aesthetic value surpasses the practical rational value. The history of the Three Kingdoms has been transformed into the immortal art of romance of the Three Kingdoms.

It is a pity that such a great literary aesthetic achievement has not been fully understood by the creators of popular movies and TV dramas, which has resulted in repeated and gaudy visual buoyancy.