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Chen: Leading to the Imagined World-Reading Zhuangzi Author: Chen Time: 2007-1-1Source: China Academic Reading: 127 people.
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Zhuangzi is not a book, but a world. But not everyone who opens this book can enter this world. Ji Kang, a native of A Jin, said that "this book needs to be re-annotated, and people should be abandoned for fun" because he was afraid of making it an exegetical study. [1] The mistake of modern scholarship lies in squeezing it into a dry theory. Sima Qian said that "Zhuangzi" is "a simple fable" and "empty words have no facts". [2] Guo said, "You talk outside the Party" and "If you don't go through it, a hundred schools of thought will contend". All this reminds us that reading Zhuang requires imagination first. The so-called "no facts" does not mean that there are only ideas without plots. On the contrary, it has many wonderful stories. Only these stories, including seemingly true stories, are impossible or have never appeared in experience or history. Therefore, it is a talk of "outside the party" and "without classics", which is beyond the secular world. In a word, it is empty. At the same time, as recognized by academic circles, Zhuang Zi is far from being the work of one person, and his works are the product of collective imagination. Imagination is very important, and its significance is not only in art and literature, but also a universal spiritual phenomenon of human beings. But how to imagine politics and philosophy is a question full of doubts. Our reading is to follow the characters and plots in the story, enter Zhuangzi's world, and then ponder the internal relationship between politics, philosophy and imagination.
I. Poetry, history, theory and drama
According to Tianxia, the narrative mode of Zhuangzi is fable, tautology and nonsense. Although it is difficult to determine the meaning of these three words, it is certain that this fable comes from imagination. Imagine that without definition, readers can understand by quoting a passage: "There is a kind of fish in the north called Kun. Kunda, thousands of miles away. Become a bird. Its name is Peng. Peng's back is thousands of miles away. Fly away angrily, its wings hang in the sky like clouds. If it is a bird, shipping will migrate to Nanming. Nanming, Tianchi also. " [3] But to reveal the uniqueness of Zhuangzi, such as the differences with Laozi of Taoism, The Analects of Confucius and Mencius of Confucianism, and to seek an understanding of the relationship between imagination and other ways of thinking, we need to do some discussion first. Yesterday's three editions of Lao, Yu and Meng seem to have many similarities with Zhuangzi's statement. For example, Lao is also a fiction, Yu has a story, and Meng has many thoughtful dialogues. How to define these differences?
Laozi's genre is poetry, and poetry naturally needs imagination. "Good is like water, water is the good of all things without dispute, and water is the evil of all people, so it is a minority." (Wang Biben, Chapter 8) When expressing his metaphysical abstract concepts and metaphysical experience principles, Lao Zi used a lot of natural phenomena, such as wind, showers, rivers and seas, valleys, sounds, colors, babies, pigs and so on. To convey the belief that "Tao moves in Tao" and "Tao is natural". However, these are only scattered images. It has no characters, no dialogues, no events, and all people can remember are a few aphorisms. Otherwise, Zhuangzi's fable provides a story that later readers will relish. For example, "Laozi" has "the people are many sharp weapons, and the country is shocked; Many people are clever, and strange things are long "(Chapter 57). The same idea, "Zhuangzi" has an interesting narrative:
Zi Gong went south to conquer Chu, rebelled against Jin, crossed Hanyin, and saw a lady digging a tunnel for a nursery and pouring it out with an urn. However, he made great efforts, but didn't see any results. Zi Gong said, "With the equipment here, you can make 100 beds a day, but you can see more achievements, as easy as blowing off dust. What does the master want? " Looking up at the gardener, he said, "What can I do?" He said: "chopping wood is a machine, with heavy back and light front." Pumping is counted as soup, hence the name. " Smiled and said to the nursery: "I heard that my teacher, if there is machinery, does things organically, and if there is organic things, there is an organic heart." The heart is pure white when it is in the chest. Pure white is unprepared, and god is uncertain. Those who are uncertain are not in the Tao. I don't know. I'm ashamed. "Zi Gong ashamed, commanding. ┅┅ ("heaven and earth")
The difference between scattered images and story lines is the difference between Lao and Zhuang, and the latter is more emotional. A story is an image narrative with a plot, but it is not necessarily fiction. There is a story in The Analects, the first classic of Confucianism. The History of Literature and Art in Hanshu said: "The Analects of Confucius is a person who responds to his disciples, who listen to Confucius." All the disciples at that time had their own notes. Because the master is a pawn, the disciples compiled it according to the way it was compiled, so it was called The Analects. "Because the content of the record sometimes includes the specific situation of the' response' and there are plots, this kind of story is actually a record. A simple comparison between Confucius in Zhuangzi and Confucius in The Analects of Confucius can illustrate the problem. In the Analects of Confucius, there are some concise records of Confucius' predicament. For example, in Wei Linggong, there is a saying: "When you were deprived of food in the past, if you were sick, you could not prosper. When Lutz saw it, he said, "Even a gentleman is poor?" Confucius said,' A gentleman is poor, but a villain is poor and extravagant.' "But Zhuangzi made up several stories:" Confucius was poor between Chen and Cai, and did not eat for seven days ". These stories are not only different in content from those contained in The Analects of Confucius, but also different in the image of Confucius described by themselves. For example, the stories in Miki and Jean Wang are very different. The story of "Let the King" is "Confucius was poor between Chen and Cai, and he didn't eat food for seven days", "The color was exhausted, and the string songs were in the room". Confucius disciples felt unreasonable and told the teacher that they were poor. Confucius said, "What are you talking about? If a gentleman knows, he knows; if a poor man knows, he is poor. Today, Qiu sticks to the principle of benevolence and righteousness in order to suffer from troubled times. Why are you poor? Therefore, introspection is not poor in Tao, but difficult without losing its virtue. When winter comes and summer goes, frost and snow fall, I know the luxuriance of pine and cypress. Cai Chen's embarrassment is Qiu Qi's luck. " After some sweet talk, the master and the apprentice jumped together again. This story is obviously based on the Analects of Confucius. [4] The Mountain Tree is very different. Its story is: "Confucius surrounded Cai Chen and did not eat fire for seven days. Dagong hanged him and said, how long can Zi live? Say,' Nature. Is this child evil enough to die?' Say, "Nature." Then, the Grand Duke told Confucius that he would not die, and Confucius believed that he was kind. Then, he "quit his friend, went to his apprentice, fled to osawa, dressed in brown, ate chestnuts, and didn't disturb birds and animals." To be a hermit alone. ┅┅ "Zhuangzi" can be said to be the first "joke" about history.
There is no need to make a detailed comparison with The Analects. We can know that Zhuangzi is a fiction and fable, only through its internal account contradictions. On the experience level, the same person will not have completely opposite thoughts and behaviors at the same time and space. But opposing narratives can coexist in the same classic, which shows that readers just regard it as fiction or imagination. Both memory and imagination can have simple or complex images, but the image goal of memory is to point to the object that happened in experience; Imagination can not only rearrange the experience materials, but also make up people and things that don't exist, which is subordinate to the purpose of imagination. [5] In imagination, the same experience materials can be repeated by the same person and adapted in different ways, and different imaginations will handle the materials more diversified, such as the use of Confucius by the author of Zhuangzi. The contrast between memory and imagination reminds us how to read Zhuang.
The story of a thought figure, no matter how tortuous the plot is, focuses on memorizing words. As far as it is concerned, dialogue is often more dramatic than monologue. At this point, Mencius is similar to The Analects. But The Analects of Confucius is a document recorded by his disciples, and Mencius is the work of Mencius (or possibly his disciples). Zhao Qi said he followed Zhong Ni's example. "I want to make empty remarks, so it is better to act deeply and clearly." So he called together all the disciples of Gong Sunchou and Zhang Wan who were difficult to answer questions, and wrote down his testimony and seven books. [6] This way of writing books leads to two effects. First, Wei Yuan said: "There is nothing about Mencius' appearance and speech in the seven chapters, which is different from the Analects of Confucius, which records that his teacher is a disciple. ".As Zhu said:" Mencius is a book that is suspected to be written by its author, so it is integrated from beginning to end, without any shortcomings. " "Look at those seven strokes, like casting, which can be done without editing." [7] This means that, compared with the Analects, the creative tendency of Mencius is the increase of rational factors and the loss of perceptual factors. It is this tendency that forms the contrast of eloquence between Mencius and Zhuangzi. Mencius' eloquence is full of arguments, while Zhuangzi's casual remarks have fantastic effects. Taking the debate on whether there is a moral standard based on human nature as an example, after enumerating the facts that the taste of Yidi, the joy of Shi Kuang and the appearance of Zi are recognized by the world, Mencius concluded: "Therefore, the mouth is to the taste, and there is the same addiction; The ear is to the sound, and there is the same hearing; There are similarities and differences in color of eyes. As for the heart, is it unique? What is the same as the heart? It is also reasonable and justified. The saint won my sympathy first. Therefore, be righteous and stern, please my heart and my mouth. "("Mencius Gao Zi Shang ") Otherwise, Zhuangzi's metaphor is full of imagination:" And I ask a woman: if a person gets wet, she will die of waist disease. What about the fish? "When you are in the woods, you are afraid of it. Where are the monkeys? Who knows who is right about these three? People eat straw, elk eat recommendation, maggots eat sweet ribbons, and crows eat mice. Who knows if it tastes right? Apes should be females, elk and deer mate, loach and fish swim together. Li Ji, the beauty of people; The fish sees its depth, the bird sees its flight, and the elk sees its sudden. Who knows the positive color of the world? Self-observation, the end of benevolence and righteousness, the smearing of right and wrong, Fan Ran confused, my evil can know its argument! " ("Zhuangzi's Theory of Everything")
The dialogue in Mencius is very close to the debate between subject and object in Gongsun Zilong. The strength of this dialogue lies not in the identity and personality of the interlocutor, nor in whether it is sensational, but in whether it can convince people by reasoning. Look at this argument. It's a logical analysis, not a story. The fable of Zhuangzi is full of drama, and the dialogue is more like lines. Characters and plots are indispensable for understanding lines. Some seemingly reasonable arguments may be irrelevant if they are tested from a logical point of view. For example, the argument between Zhuangzi and Hui Shi about "the pleasure of fish" in Autumn Water, the passionate people are not necessarily reasonable people.
The differences between Laozi, The Analects of Confucius, Mencius and Zhuangzi can be regarded as the differences between poetry, history, theory and the same drama. This unique narrative style makes the whole Zhuangzi full of charm and confusion. Zhuangzi should be read from the perspective of drama. [8]
Second, the edited image.
From the perspective of imagination, after comparing several classics, the narrative style (or thought) of Zhuangzi emerges as a bold outline. The same is imagination, compared with Laozi, there are characters and plots; The same story, The Analects of Confucius is realistic, it is fictional; As a dialogue of thoughts, the structure of Mencius is logical and dramatic. This initially reminds us that when reading Zhuangzi, we should not confine ourselves to a few abstract concepts, focus on the truth or falsehood of the plot, or even stick to the literal logic of words. [9] This is a correction to the traditional way of studying philosophy. As a way of thinking, imagination has its own premise, structure and strength. It is also deeply reflected in the classic ideological phenomenon of Zhuangzi.
Imagination can be divided into broad sense and narrow sense. Imagination in a broad sense is an ideological activity of recalling and conceiving images. In a narrow sense, imagination, in short, is to conceive unreal images and their activities. This is contrary to the goal pursued by history, news and private diaries. This paper uses the concept of imagination in a narrow sense. In written records, dishonesty includes at least two levels. First of all, some elements that once existed in experience are newly sorted out or synthesized. Elements mainly refer to people, events or specific time. This is the imagination of the absent, such as Confucius and his disciples in Zhuangzi. Second, imagine something that doesn't exist at all, or even impossible at all, such as the myth that fish turns into birds and Kun turns into Peng at the beginning of a happy tour. Imagination does not deny its falsehood, let alone pretend to be true. But using some empirical elements to make a new story is to make a more targeted comparison with empirical reality. When it's fake, it's true. It's true. The best way to create this image is to talk about dreams. The content of the dream has no empirical reality, so it is false; But the experience that people can dream and dream all kinds of strange dreams is real. Zhuangzi is a dreamer, and the author of "Zhuangzi" has many experts in telling dreams: "The dreams of the past are Hu Die's, but they are vivid in Hu Die. Self-metaphor and ambition! I don't know, Zhou Ye. If you suddenly feel it, you will suddenly feel it. I wonder if Zhou Zhimeng is Hu Die and? Hu Die's dream is Zhou Yu? There will be points in the weekly meeting. This is called materialization. " The plot of the characters in this fable is extremely simple. Zhuang Zhou could not be Hu Die in his experience, but he was true in his dream. The key moment is not in dreams, but in sleep. This feeling leads to a big question: Where there is life, there is a dream, or where there is a dream, there is life? Metaphorically speaking, life is a dream. However, Zhuang and butterfly share the same dream and sleep together, which is actually a cross-corresponding relationship. Zhuang Meng butterfly sleeps, Zhuang wakes up. It's peculiar, just like those black and white prints in Eisele. The hidden pictures are intertwined and cultivated with each other. [10] Zhuangzi used dreams to realize life, while Zhuangzi's later research developed to the criticism of life in dreams:
At the beginning of Zhuang Zichu, he saw a short bone and a tangible skull. Beat him with a horse, so he asked him, "What is the master's greed for life and ignorance?" Will the son have the matter of national subjugation, axe axe, why? Will the son have a hard time and be ashamed of the ugliness of his parents and wife? Why? Will the child be hungry and cold? Why? What is the reason for the son's spring and autumn? "So he said goodbye, holding the skull and lying on the pillow. In the middle of the night, Lou had a dream and said, "The words of many sons are like debaters. All philosophers say that strangers are tired, but there is no such thing as death. "Do you want to hear about death?" Zhuangzi said, "Of course." "You are dead, there is no monarch above, there is no minister below, and there are no four seasons. Since heaven and earth are spring and autumn, we can't cross Wang Le south. " Zhuangzi doesn't believe me. He said, "I saved Siming. It is my son's own flesh and blood. It goes against my parents, my wife, my knowledge and my son's wishes. " Skull frowned deeply and said, "I can abandon Wang Le in the south and go back to work for the world!" " (Gameloft)
Zhuangzi didn't become a skull this time, but talked to it. This is a discussion between the living and the dead about the meaning of life and death. There may be Zhuangzi, there may be a skull, and there may be people who use the skull as a pillow, but the skull can't talk, so Zhuangzi asks questions and doesn't expect an answer. In the dream, everyone has a chance to speak. It can correct the misunderstanding of the meaning of existence by the living according to their different experiences of life and death. A strong imagination can convey profound and infectious thoughts in a false form.
Zhuangzi had different dreams, but Confucius could behave like different people in the same scene, which shows that imagination has a way of thinking that is not bound by the possibility of experience. Sartre in "Imaginary Psychology" discusses that:
In fact, thoughts are not based on objects, but appear in the form of objects. If an idea is developed in the form of a series of imaginative activities, it will make this object as an image have vitality. Sometimes it manifests itself in this aspect, and sometimes it manifests itself in another aspect; Sometimes it has such certainty, and sometimes it has different certainty. ..... If we think about a single object imaginatively, what appears in front of our consciousness is the objects themselves. Their appearance will be the same as their actual existence, that is, as a spatial reality with certainty in form and color. However, they will never have the unique personality and unity of perceptual objects. There will be some distortion, a deep-rooted ambiguity and uncertainty. [ 1 1]
In short, a dynamic image can develop different dynamics or plots in imagination. The appearance of these different plots may lead to changes in the basic image. This is probably about one's imagination. If that image (character or event) is not the product of someone's imagination, but the image with vitality in history and culture, then more people may participate in the development of this image, and then the historical fate of this image will naturally change. It is understandable why Confucius in Zhuangzi has different faces. Zhuangzi is not the work of one person, not only Confucius, including his disciples, but also friends like Zhuangzi and his Hui Shi. In fact, it is the product of collective imagination. At the same time, because the characters in Zhuangzi are not only diverse, but also the relationship between the characters is not the real connection between time and space in realistic long narrative literature, there can be no plot or ideological connection between the characters, stories or even different stories of the same character. Sometimes, you can use them as materials to be processed and integrated. Even if it has become a classic chapter, you can look at it this way.
Let's look at the chapter structure of carefree travel. Yi You is placed at the beginning of Zhuangzi, and like The Theory of Everything, it is recognized as Zhuangzi's masterpiece. However, in contrast, the discussion in On Wuqi is more abstract, while the sense of plot in Xiaoyao is stronger. * * * There are 16 chapters, which are arranged as follows: 1, "There are fish in the north, called Kun", 2, "3", "My husband is not thick enough to bear a big ship", 4, Xun and Xue Gui. 1 1, Yao Yun ruled the world, 12, Shouwu asked Uncle Lian, 13, Song Manshi Zhang Fu was at ease, 14, Yao ruled the world, 15, Keiko called Zhuangzi,/kloc. In this chapter 16, the only argumentative papers are chapters 3, 5 and 8 and 10, ***4. These argumentative words are also full of metaphorical images, but there is no plot. The remaining 13 chapters are stories with characters. However, it seems difficult to grasp the arrangement of these 12 stories and four arguments. According to the theme, chapters 1 to 7 can be roughly classified as "big and small", while the next two chapters all start with "Keiko said Zhuangzi said", which is "useful and useless". From chapter 8 to chapter 14, the theme is loose. For example, in chapter 13, "Man-made clothes in the Song Dynasty are comfortable, and the more people lose their tattoos, the more useless they are." And chapter 14, "Yao governs the people of the world and the politics of the world. I went to see the mountain shot by Sizi, the sun that divided the water, and lost my world. " Although the image is clear and the plot is clear, it has nothing to do with the context. In fact, even in the first seven chapters and the fifth chapter, the discussion is inserted in the position, and it is very awkward to separate the images about birds before and after.
This sloppy phenomenon is inevitable in On Wuqi. [12] On the contrary, the works in Foreign Essays, such as Jean Wang, are the same theme in the whole story series; The story of Shuo Jian is single and the structure is complete. But both of them were denounced by Su Shi as "shallow and ignorant" in Zhuangzi Ancestral Hall. It may mean that readers are not concerned about the layout of the article, but are interested in a short and wonderful story or discussion. And it doesn't matter which story you read first. If there is no preconceived idea, you can rearrange the order of Xiaoyao 16 chapters, which I believe is acceptable. This enlightens us that the authors of these famous articles in Zhuangzi did not regard them as complete and independent articles in a short time at first. It is likely that at different times, write an independent story or exposition, then roughly classify it, group it into chapters, and then add a title. [13] The author, editor and nominee can be the same person (such as the inner chapter) or different people (such as the outer chapter). [14] This assumption is also in line with Sartre's imaginative thinking mode. After a dynamic image is formed, it will brew, develop and even deform in the author's mind. At the same time, other images may be conceived to express similar or different ideas, so what readers read in Zhuangzi is the interweaving of a series of complex images. [15] We can regard it as a montage-edited work, or as a long scroll of traditional Chinese painting displayed from a scattered perspective. Mastering the characteristics of imagination is consistent with understanding the structure of Zhuangzi.
Imagination is not reality and cannot be realized in experience. The imaginary enemy is actually unscathed. An old friend who is resurrected in imagination will never have a chance to be reborn. As far as the role of changing reality is concerned, imagination may not have the effect of rational understanding. But it has the power to evaluate things and express emotions. Imagine a friend who betrayed himself is full of hatred, while a lover who is out of imagination is full of attachment. This is the experience of ordinary people. Daily imagination has little effect on yourself. Imagining something important, far-reaching, complex or subtle, far away from the image of personal life, is an expansion of the imaginary spiritual world. Reading "Zhuangzi" means entering an ideological world far from daily life.
Third, the role in the story.
The story in Zhuang is impossible, and there is no need to repeat it in an all-round way here. What should be discussed is the structural elements in these stories. No matter how deformed the experience is, it also has a corresponding relationship with the daily world. The characters are always the center of the story. The characters in the story of Zhuangzi can be roughly divided into four categories: the first category is historical figures who are not present. Although their words and deeds may not follow the rules of daily life, they basically have no superhuman strange abilities. Its representatives are Zhuangzi and Confucius. The second category is fictional people who are not much different from ordinary people in the daily world, especially those who live on the edge of society, just like the stragglers in the world on earth and the adherents in Dechong House. The third category is those mythical figures who have appeared in historical records, but the records are brief or not recorded at all in history, and often play an extraordinary role in stories, such as Laozi and Changwuzi. The fourth category is actually not people, but things, such as "confusion" and "scenery" in confusion. Because they are virtual beings with thoughts and words, they have to be regarded as a kind of "people". All the characters have names and images are concrete. Call them celebrities, mortals, gods and personification for the time being. The design of different types of characters is not because of different imaginations, because there are several kinds of people coexisting in Zhuangzi. In the same story, there will be different types of characters, which shows that it is not the creator's interest. In Zhuangzi's world, four characters have different functions.
The farthest from reality is personification. Things first appeared in the world as human beings. This stone and that stone, this bucket of water and that bucket of water, this gust of wind and that gust of wind, this shadow and that shadow have no independent feelings, unlike Lao Zi and Zhuangzi, which need to be treated differently. After the introduction of the story, its identity still has the characteristics of things. For example, "I am confused and asked about the scene:' I will do it today; Sit down today and get up. Why is there no special exercise? "Jing yue:' am I waiting for evil? I'm waiting for evil? Do I treat snakes with evil wings? Why is evil knowledge? Bad knowledge, otherwise "(Homology) Shadow (Confusion II) is impatient with the uncertainty of shadow (scene), and shadow (scene) retaliates with the same attitude towards shadow (Confusion II). This is to use their natural characteristics to symbolize the situation and mood of a pair of inseparable and involuntary people. The relationship between Beihai and Hebo in Autumn Water is a metaphor for the size of horizon and mind by comparing the capacity of rivers and seas. Things and things, things and people are not easily replaceable. If it's not the skull but the stone that enters Zhuangzi's dream with joy, it's a different meaning without the experience of life and death. But if Zhuang Zhou's dream is not a butterfly, but a person, Laozi or Confucius, and the plot structure has not changed, it will be disappointing. Taking anthropomorphic things as the role is a shortcut to philosophical fables.
God is like a dragon, often lacking an ending, not a living existence. This kind of characters have several characteristics, one is an old man, the other is a hermit, and the other is strange. They are all over Zhuangzi and abroad. "Happy Travel" takes Song, who is pretentious, and Liezi, who walks against the wind, as the protagonist, and takes "If the skin is ice and snow, it is a virgin; Don't eat grains, suck the wind and drink dew; Ride the dragon in the clouds and travel around the world; Its spiritual cohesion makes things flawless and immature in the years. With Yao He, they regard the world as a gift for each other. The Theory of Everything contains Guo Zi's coffin, a seemingly "ignorant" looking at you with profound spirit, and Chang Wuzi. The master called these people with magical abilities "ancient real people". They are called gods, people and real people, and their roles are roughly the same. The role of designing this kind of role is to express a concept that deviates from the secular world: "Nanbo Zi Kui asked the girl:' Although the child is old, what is it if the color is obedient?' You said,' I have heard the word.' Nanbo Zi Kui said, "Can you learn evil from Tao?" Say:' evil! Evil! Children are not men. ..... "("A Generation of Masters ") Because" Tao "conveys an idea that is fundamentally opposed to secular values, to strengthen its persuasiveness, we cannot seek support from the secular world, but only entrust some ancient and sacred figures. Kang Youwei said: "Respect the past and abuse the present, and stay humble and far away. What a pity! Listen, look, listen and forget; If you don't see what you hear, you will respect it; Human feelings! ..... Zhuangzi said:' Although his words are taught, they are also true. There is something in the past, not me. "As the old saying goes, there is no one after the ancients. It is better to talk more about the Yellow Emperor than to let a hundred schools of thought contend. So is a temporary custom. Philosophers give lectures on weekends, especially fables! "[16]" Zhuangzi's fable, no one don't trust, even Lao Dan also trust the ancients. "[17] It is the utilization of deep psychology in human nature to mold the man of God.
There are two types of mortals in Zhuangzi. One is scattered: "a scattered person, above his shoulders, will point to the sky, with five tubes on his head and two moustaches as a threat." It is enough to make a living by falling needles; Drum pods and seeds are enough for ten people. When a soldier is recruited, his arms are scattered during this period; If there is a big battle in the world, it will be a common disease in pieces and will not be rewarded; When you are sick, you will receive three cups and ten bundles of wages. Being separated from her husband is still enough to support her body. Will eventually get rid of their virtue! There is a group of such characters in The Master: "Zi Si, Yu Zi, Gigi Lai and Zi Lai talk:' Who can take nothing as the head, life as the spine and death as the coffin; Who knows the difference between life and death, I am a friend! "The four of them smiled at each other and didn't turn their backs on each other, so they became friends." From a secular point of view, scattered people are ugly and lazy, muddling along. The other is the expert style: "The expert is the first meeting of the classics, with his hands touching, shoulders leaning, feet standing, knees standing on the ground, and the sound of swords sonorous, in harmony with the dance of mulberry trees." In addition, "Tian", the handy round flat in front of Huan Gong Tang, and the swimmer "Sheng Da" who surprised Confucius can all be classified into one category. These people are all lower-level workers, and they all look up to the public with their magical skills. These two kinds of people live in marginal or lower society, but Zhuangzi's authors give them ideas and behaviors different from the mainstream or upper society with an ironic or critical attitude. Different attitudes towards labor may reflect the different ideological orientations of different authors. It is the existence of mortals that makes the "life" in Zhuangzi more attractive.
The most important role is a celebrity. There are many famous figures in Zhuangzi, such as Zhuangzi's friend or acquaintance (Hui Shi) and Confucius' favorite protege (Yan Hui, Zigong, Luz, etc.). ), as well as prominent aristocrats (Qi Huangong, Guan Zhong) or hermits (Boyi, Shu Qi) who left their names in history, and so on. But the most striking figures must be Confucius and Zhuangzi himself. A series of images of Confucius are imagined by many authors, and readers will know at a glance that he has not maintained a unified personality. Earlier, we have taken the two stories of "Confucius was poor between Chen and Cai, and didn't eat for seven days" as examples, pointing out that the contradiction of this image is the result of different imaginations. In these two stories, Confucius is a teacher to students, but more like a student to outsiders. These two identities have almost developed into two series in Zhuangzi's essays inside and outside. Confucius disguised himself as a teacher, and he could also cite examples from The World on Earth. Yan Hui wanted to save the country and bid farewell to Confucius before he left. Confucius earnestly dissuaded Yan and finally led her back to the practice of "Xin Zhai". In the same article, Ye Gongzi went to Qi on business and asked Confucius for advice before leaving. Confucius also deeply analyzed the difficulties in accomplishing this diplomatic mission for him. Confucius in DeChongFu, however, in the same chapter, wants to take the upright man who "stands without teaching and sits without discussing" as his teacher, saying that "autumn will rule the world and follow it". In "Master", Confucius was ashamed of his ignorance of "the meaning of ceremony" in front of two scattered people who died while singing. In Foreign Essays, Confucius became the whole object of listening to Lao Dan's lectures. [18] In fact, behind the two types of imagination of Confucius, there can also be a conceptual basis of * * *. Confucius learned Taoism from his teacher. But Confucius' mentoring is not necessarily a Confucian concept. The reason for discouraging Yan Hui in The World on Earth is very Taoist: "From ancient times to human beings, save yourself first, and then save others. Your inner self is uncertain, so there is no time for violence! And if you also know what Fu De is doing, what is not true? Virtue is famous and knowledge is indisputable. The famous are also rolling; People who know are also contending. Neither weapon is very good. " Taking Confucius as a teacher is to follow his traditional identity and express non-traditional thoughts; Let Confucius be a student, which is also in line with Confucius' modest and studious character in The Analects. Some factors in the traditional Confucius personality are still preserved in the newly compiled story. [19] In the era of Zhuangzi, Confucius was a powerful cultural symbol representing tradition. Compared with other fictional images, developing this image in an ironic way has a greater impact on the inherent concept.
Next, let's talk about Zhuangzi. In fact, Zhuangzi does not occupy as much space as Confucius in Zhuangzi. Roughly speaking, there are about 46 stories about Confucius in the book, but there are only 26 in Zhuangzi. However, Zhuangzi is the most important author of Zhuangzi. Understanding Zhuangzi's self-imagination and its development in later studies is of great significance to understanding Zhuangzi. Therefore, this role must be discussed separately from the above type analysis. Twenty-six stories about Zhuangzi are distributed in thirteen articles: [20]
Xiaoyao Tour: Zhuang Zhoumeng is Hu Die; Zhuangzi masahiko (2).
Dechong Fu: "Keiko said to Zhuangzi,' Are people heartless?' "
"Tian Yun": "Go to the slaughter, and Zhuangzi will seek benevolence."
"Autumn Water": "Zhuangzi Fishing in Lishui"; "Huiziliang, Zhuangzi went to see it"; "Zhuangzi and Keiko swim on Hao Liang".
"Happiness": "Zhuangzi's wife died, Keiko hanged it, and Zhuangzi drummed and sang"; "