If the "reflection" of greening trees is "ideological", then butterflies are "philosophical".

1. 1

Wang Meng

Wang Meng is a modern kite. Wang Meng is a classic that stayed in the fifties. This is humor, this is a symbol. This is ridiculous. Is to always adhere to realism. This is the wish of my hometown. That's mean. It is the introduction of western artistic skills. Party officials. He is the "buddy" of Beijing writers. Is the protector of the trendy. It is an old fox. He's a smart guy. This is a stream of consciousness. Is the vanguard of anti-bureaucracy. It's a wide face. Confucianism, Zhuang and magician's irrationality. It comes from life. It is "three noes" (no characters, no plot, no theme) ...

This passage is self-righteous and dazzling. But not surprisingly, the image of "butterfly" taken from "The Dream of Butterflies in Zhuang Sheng" is itself a real and illusory "blurred" metaphor. Since Wang Meng is interested in butterfly images and confusing winds, it is no wonder that he prefers butterflies or butterflies and is "proud" of helping himself. Interestingly, however, Wang Meng's series of piles inadvertently opened a hole, giving us a reminder: Obviously, the above confusing signs and the logic behind them can also be directly moved to observe and discuss Zhang Siyuan, who is not only a senior official of BMW, but also a farmer who works hard to grow grass. Corresponding to the "confusing" logic, specious language refers to a deer as a horse, with a slightly mysterious feeling, which is also Wang Meng's distinctive style.

1.2

contrast

The life door of Zhuang Sheng Meng Die or On Everything is materialization (this is called materialization). Materialization is the unity of all things, the unity of life and death, the unity of dreams and the unity of body, and the assimilation of the other is to fundamentally eliminate the differences of all things, including the abolition of various visible opposites. Therefore, Wang Meng's seemingly contradictory self-evaluations are not "split" and "contradiction", because in the view of "materialization" or "uniformity", everything is unbounded and Tao is unified. From the perspective of Taoist personality ideal, the internal structure of personality is a kind of "Qi", which is a natural and healthy personality in Zhuangzi's view, just as Chen Jingyuan (Bi), a Taoist in the Song Dynasty, explained Zhuangzi's personality: "The nature of Zhou Butterfly is one of the wonders, and Qi is also." Therefore, Wang Meng's self-teaching and his metaphysical expression of "young old people" and "unfortunate lucky people" are the expression of his personality model and the way of thinking directly related to it. When young/old, misfortune/luck overlap and blend with each other, they are all connected with the words in The Theory of Everything, such as "victory over death", "Wei You's life", "invisible feelings" and "meaningless", which are all homogeneous thinking. This is actually quite common in Wang Meng's general writing.

It is precisely because of this "Dao pivot" that Zhang Siyuan does not have the tear between "spirit" and "flesh" like Zhang Yongyu, thus avoiding all kinds of pains in this tear. For example, shortly after Zhang Siyuan sent away the mountain village, he rediscovered himself through the labor reform imposed on the body:

While climbing the mountain, he found his leg. He found his own job while helping farmers farm. He found his shoulder when he was carrying water. When he carried the basket, he found his back and waist. When he was resting after work, he craned his neck with a hoe and looked at the car with a lot of dust on the road. He found his eyes.

Unlike Zhang Yonglin's inner anger and resentment about "labor reform", Zhang Siyuan was optimistic about "mountain village" and labor from beginning to end. His series of "discoveries" about his body are full of spiritual joy and gratitude for the rescue of his soul. Obviously, Zhang Xianliang or Zhang Yongling is a paranoid who is troubled by various dualism and struggles for transcendence, while Wang Meng or Zhang Siyuan can move towards self-consistency lightly in confusion.

1.3

butterfly

"Butterfly" is the first time to write "Butterfly", and it also focuses on the "mountain village" section in the middle of the novel. Zhang Siyuan, after quoting the allusion of "Dream Butterfly of Zhuang Sheng", claimed that he surpassed and got rid of the predicament of life at that time through "Dream Butterfly" and was "determined to win" like Zhuang Sheng. But the story of "Dream Butterfly" also contains the reverse action of "Dream Butterfly and Dream Butterfly". The reality recognized by this reverse action is that Zhang Siyuan "has become a prisoner, isolated from the world, without any explanation, even trial, no way out, no way out, and even no right to die". This is reminiscent of Kafka's Gracchus the Hunter. Kafka studied Zhuangzi translated by German sinologist and missionary Wei Lixian and Zhuangzi translated by German theologian Martin Bubel, and was obviously familiar with the story of "Zhuang Sheng Meng Die". According to textual research, the novel Gracchus the Hunter was directly inspired by Zhuang Sheng's Butterfly Dream. In Kafka's novel, after the death of hunter Gracchus, he had to be in a dying state because the ship carrying his body got lost and could not reach the "bottom of death":

I'm always on the big steps to heaven. I wandered on the messy open-air steps, up and down, left and right, and kept moving. I changed from a hunter to a butterfly.

1.4

summary

Similarly, after a huge disaster of expropriation and disposal, Zhang Siyuan was not the same as he was yesterday, and his fate fell off a cliff (similar to Gracchus's death while chasing prey). First he went to prison, and then he was homeless after his release. At this time, in Wang Meng's pen, he is also a butterfly, but he can't swim. I can't go to the sky, I can't go to the ground. "This is similar to the hunter Gracchus's Butterfly. In particular, Zhang Siyuan's situation as a prisoner "can't live, can't live, and has no right to die" is more similar to Gracchus's "dying". Here, what connects Zhang Siyuan with Gracchus, Wang Meng and Kafka is the thinking of materialization or unification. Here are a few words: If you think further, you will find that Kafka's Metamorphosis-Grigor and the Beetle is also a kind of materialization, slightly modified and grafted with modernism. This modernist classic writer, who loves and admires China's classical culture, has been feeding back China literature with twists and turns since 1980s.

However, the extreme relativism and nihilism in Wuqi are fatal to a work of "reflection" written when collecting and thawing "the beginning before the beginning". Since everything is unified, right and wrong are one, and left and right are available, where does "reflection" start? How is that possible? It must be said that Wang Meng's preference for butterflies is not unreasonable, because he solved the above problems without revealing or chiseling, and the handling can be described as ingenious: he used "uniformity", and he also used relativism and nihilism; He used relativism and nihilism slightly, but he overcame relativism and nihilism heavily.

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