Among the many female images portrayed in A Dream of Red Mansions, Lin Daiyu has the most typical significance of the times. As a classical woman in the last days of feudalism, she has a certain rebellious consciousness of pursuing freedom, but at the same time she has the shadow of feudal ethics. This kind of shadow is reflected in Lin Daiyu who died for love in born to love. Her reserve has rich and profound cultural and artistic connotations, which are aesthetic, ethical, historical and psychological.

Keywords: A Dream of Red Mansions; Lin Daiyu; Reservation; Cultural and artistic connotation

Lin Daiyu written by Cao Xueqin is an inexhaustible figure. She lived in the last days of feudalism and was a classical beauty with both talent and appearance. She born to love, died for love, was arrogant and willful, and so on. These are the artistic summaries of her by critics all the time. However, there seems to be an undercurrent in this artistic image with typical significance of the times, that is, the lady's demeanor forced by feudal ethics, which is Lin Daiyu's reserve. This paper will analyze Lin Daiyu's reserve in love and other aspects from many angles, and reveal her rich and profound cultural and artistic connotation of keeping pace with the times.

one

Lin Daiyu is the embodiment of a crimson pearl grass next to Sansheng Stone on Xiling River. She has a natural spirituality. Shen Ying, the waiter of Chixia Palace, irrigated her with nectar, which made her life full of love and poetry. She was born to love, but she was born in a dark age. In the social and family environment that she could not choose, after a love disaster, she left with unfinished love. As Mr. Jiang Hesen said: "Life is either a poetic love song or a trial full of tears for her. There is no other turning point between the two. " [1] Love is the only visible light in Lin Daiyu's life, and even becomes the whole meaning of her life. She and Jia Baoyu are soul mates and are bosom friends. Jia Baoyu, a childhood friend, has true feelings for Lin Daiyu. He takes Lin Daiyu's joys and sorrows to heart, cares about her and only cares about her. He is also a person who really cares about and understands Lin Daiyu. He not only knows pain and heat, but also can develop strengths and avoid weaknesses and strive for self-improvement. He also knows Daiyu's mind and understands the profound meaning contained in her poems, words and even body language. He is Daiyu's bosom friend, confidant and bosom friend. The so-called "two thousand gold is easy to get, but a bosom friend is hard to find." However, Daiyu was not really happy because of this. She had to be on tenterhooks in free love and stick to the psychological defense line until the end of her life. Therefore, in love, whether it is the first love stage or the passionate love stage, she always shows reserve involuntarily. There are many examples of Baodai's love story in this article, and each example contains the author's deep meaning with ulterior motives, which is an empirical evidence that the characters show reserve in various life scenes.

First, Bao Dai reads the West Chamber. Described in the article, Baoyu said with a smile: "I am a sad body, and you are a charming posture." Lin Daiyu's cheeks flushed and her ears flushed. She suddenly raised two eyebrows that looked like frowning and stared at her eyes that looked like staring. Her cheeks were angry and her face was angry. She pointed to Baoyu and said, "You talk nonsense! Make good use of this obscene song and bully me with these miscellaneous words. I'll tell my uncle and aunt to go. " Here, Cao Xueqin's genius depicts a shy and angry expression of an aristocratic girl with extremely accurate words. These words are not for nothing. Cao Xueqin's wonderful pen is to show Lin Daiyu's reserved and moving side.

Second, Xifeng joked and Baoyu lost his temper. On the 25th time, Xi-feng smiled and said to Daiyu, "Since you ate our tea, why don't you be our wife?" Everyone laughed. Daiyu blushed and turned away. This is a place. Another place is, "Here Baoyu holds Daiyu's hand and just laughs without saying anything. Daiyu blushed again and struggled to leave. " This description seems implicit, but it is not difficult to see Cao Xueqin's painstaking efforts. It is in this kind of dribs and drabs description that the image of Lin Daiyu is full, which is the trace of the author's painstaking efforts, because the girl's reserve is a very delicate emotional expression, and her performance is extremely subtle, which is difficult for careless people to describe this psychological change. Here we have to admire Cao Xueqin's delicate pen.

Third, explore Daiyu and compare it with Yuanyang. Twenty-six times, Baoyu went to visit Daiyu. Daiyu said "I feel sleepy every day" during her lunch break, which happened to be heard by Baoyu. "Lin Daiyu consciously forgot her feelings, blushed, covered her face with sleeves and turned over to sleep." Next is Baoyu's words. He smiled and said, "Good girl,' If you are affectionate, how can you make the bed? Lin Daiyu bowed her head and said, "What did you say?" ? Baoyu smiled and said, "What did I say?" ? Dai-yu said, "Now the newcomers have heard what the village said and told me everything. "。 Read fucking books and make fun of me. I became a boring person. "Crying, I get out of bed and go toward outside walk. In this case, perhaps many people will feel innocent for Baoyu. It can be said that his words are a natural expression of "forgetting me". He loves Daiyu so much that he can't hurt her. How could he have the heart to make fun of him? This is just that Daiyu's self-esteem and shyness are at work, making her show reserve again and again to maintain her lady image. The meaning of Baoyu, Daiyu is willing to accept; What she can't accept is Baoyu's expression. A good family can't let a heterosexual joke casually, especially can't let a heterosexual call it a spouse in a frivolous tone. Traditionally, the media emphasized marriage. The so-called marriage in the media aims to improve women's identity and the seriousness of marriage with the solemnity of ceremony. It can be seen that Daiyu attaches importance to identity.

Fourth, all the scenes about Baodai after the quarrel. After Baodai had a big fight, Baoyu went to Xiaoxiang Pavilion to find Daiyu. While crying there, Baoyu forgot to bring his handkerchief, so Daiyu threw him a piece. Baoyu saw that he had lost his handkerchief, so he took it and wiped his tears. He came closer and stretched out his hand and took Daiyu's hand. He smiled and said, "My insides are broken, but you just cry. Go, I will accompany you to find the old lady. " Daiyu shook her hand and said, "Who is pandering to you? It's getting bigger every day, and it's still so embarrassing I don't even know the truth. " This example can best prove Daiyu's reserve. The two men had made up. Daiyu threw him a handkerchief, which is a very meaningful expression of love between lovers. After Baoyu took her hand, it should be further intimacy, but Daiyu made a 180-degree turn and called Baoyu shameless and unreasonable. In fact, her "truth" here is the ethics of feudal ethics. It can be said that this is the first time that Daiyu has used conscious language and behavior to maintain her reserved lady image. Her reserve also has a process of growing with age. When I grow up, I won't be as close as when I was a child. This is the internalization of the collective unconscious in girls' conscious consciousness. At the same time, their love has gradually matured, and Daiyu's reserve also shows that she is more and more contradictory and painful. As Wang Kunlun said: "The more love needs to develop, the tighter the feudal ethics will be, so that girls can show the opposite of love and joy. ..... between Baodi, the pain of the contradiction between heart and line began. " [2] The thirty-second time, Daiyu heard Baoyu say in front of everyone, "Sister Lin doesn't talk like an asshole. If she says so, I will be separated from her. " Daiyu was pleasantly surprised, sad and sighing. At this time, to her surprise, Baoyu praised her in front of everyone, and she was intimate and did not avoid suspicion. Then Baoyu couldn't help raising his hand to wipe her tears. Daiyu quickly stepped back and said, "You're going to die again. You're doing this!" However, she later regretted what she said. Seeing that Baoyu was so anxious that his face was sweating, he also leaned over to wipe the sweat. How contradictory this is! The thirty-fourth time, Baoyu was beaten. When Daiyu went to see it, she knew that Xifeng was coming and quickly stood up to leave. She is afraid that her eyes are swollen like peaches because of crying, and that others will make fun of her. The 45th time, Daiyu regretted that she had said, "If she wore that, she would become a fisherman in a picture and a play." She blushed. These examples and so on. , all illustrate the inviolable territory of Daiyu's heart, which is the moral concept of ordinary women in feudal society, and so is Lin Daiyu. On this land, she built a castle with her dignity, and her modesty lived in it.

To sum up, we can see that Daiyu consciously or unconsciously showed reserve, or blushed or angry, or stamped her feet or cried. However, these unconscious facial expressions can only show Lin Daiyu's innocence and frankness. She is rebellious, but she is also bound by feudal ethics. She is also a good family, and this brand cannot be removed in her bones, but she is more natural and intriguing than other women. This is the genius of Cao Xueqin. He created a more perfect classical beauty, which made her more truly reflect the content of the times. In the words of a red scientist, it can be summarized as: "Why is this artistic image so deeply rooted in people's hearts? Perhaps our first thought is love, tragic love. " "The reason why Lin Daiyu can impress people is because she is a rebel in a dark world, and she embodies some hopes and pains of women in that era." [3] Lin Daiyu's reserve in love is necessary for her to live in that era and is the embodiment of female beauty, but this beauty of Lin Daiyu is reflected in contradictions. She dares to break through some taboos and free love with Baoyu, but she can't help showing reserve. It's really exciting and loving. Her reserve adds a lot of feminine charm to her. Other women in the novel also have their reserve, such as Baochai, but her reserve is an absolute obedience to feudal ethics and an image of a lady that fits perfectly with feudal forces. On the whole, she is dignified and steady, but she does not have the naive temperament of a girl. She is like a puppet actress in feudal society, very arrogant and pretentious. Generally speaking, Lin Daiyu is a natural and pure beauty. In the lovely rebellion, she sometimes unconsciously shows reserve, which arises from contradictions. Those examples prove that she is struggling with the desire and fear of confessing to Baoyu, and all kinds of reserve are unconscious manifestations of her heavy mental shackles. Although her reserve is necessary, it also makes her lose some opportunities in love, which is also a tragedy. This is also the profundity and particularity of Baodi love that Mr. Wang Kunlun said. "On the one hand, the flame of love is very bright, on the other hand, the emotions of love cannot be communicated." "Under special circumstances, their love can only be a torrent under the weight of Yan Shi, a dark moon surrounded by thick clouds; Specifically, they can only have silent desires, allergic suspicions and wasteful quarrels, but not the clarity and fluency of modern people. " [4] This is the necessary reserve of that era.

In love, Lin Daiyu is reserved to the end. Finally, in order to make the highest form of protest against that cold and humid society, she resolutely refused to die. In another sense, this is also her most reserved protest.

Of course, Daiyu, as a complicated figure, also has many places to avoid suspicion in her communication with Baoyu. For example, in Chapter 19, it was written that one day Daiyu was taking a nap in bed, and Baoyu woke up Daiyu, and even Baoyu scratched two hands, and then reached out and scratched under the ribs of Daiyu's diaphragmatic fossa. In this case, their relationship is only in the hazy first love stage, and their intimacy is a free and lively contact. They have been arranged to live together by their grandmother since childhood, and the feelings of childhood friends naturally make them different from others since childhood, just as Baochai's idea in the Twenty-seventh Return implies: "Baoyu and Daiyu grew up, and there are many things between brother and sister that cannot be avoided." In the eyes of their elders, they were just two innocent brothers and sisters. They don't look at their intimate behavior with the eyes of men and women. Based on this, Baodai naturally has more free love space and more places to avoid suspicion. However, as mentioned above, Daiyu's reserves have a growing process. As she approached the marriageable age of ordinary women at that time, her reserve became increasingly prominent, as the above examples have proved. However, as mentioned in Chapter 54, the old lady ordered Baoyu to pour wine for her sisters and asked them to drink it dry. Baoyu came to Daiyu and "refused to drink. He picked up the cup and put it on Baoyu's lips. Baoyu drank it at one breath." Daiyu's behavior of not avoiding suspicion should be the wayward and rebellious side of her character, which we have not denied, but we also do not deny the reserve that still exists in her bones. If we have a deep understanding, it should be a tacit understanding between her and Baoyu, an uncontrollable outpouring of true feelings, which can only show their deep affection.

two

Judging from the aesthetic art of traditional culture, the concept of female beauty characterized by modesty and gentleness is the conscious consciousness of novelists and dramatists in shaping ideal female images in the late Ming and early Qing dynasties. To Cao Xueqin's pen, although there is a breakthrough, it is not complete. Therefore, Lin Daiyu's reserve is a projection driven by Cao Xueqin's indelible traditional concept of female beauty. Aesthetically, this kind of projection is beautiful and valuable, not only a kind of verve beauty, but also a kind of modality beauty. However, both the cultural level and the aesthetic level are related, because the aesthetic connotations of female images displayed in novels and operas in Ming and Qing Dynasties are inseparable from the requirements of traditional female culture in China for women's virtue, tolerance, speech and merit.

As a novelist, his creative psychology must have the characteristics of the times. Cao Xueqin lived in the Qing Dynasty, and many cultural atmospheres accumulated in the Qing Dynasty will inevitably affect his thoughts and then his characters. As far as his thought of female beauty is concerned, it developed to the Qing Dynasty, and under the influence of China's traditional female culture, it must have the aesthetic standards at that time. Throughout the traditional female culture in China, the beginning of female standardization in history can be traced back to the Zhou Dynasty. The Regulations on Women's Code of Conduct in Zhou Dynasty runs through the following ideas: First, there are differences between men and women; Second, men are superior to women. In the works of pre-Qin philosophers, there are many contents about women's behavior norms. For example, Mencius sharply criticized the behavior of "spying on each other and climbing over the wall with each other without waiting for parents' orders". He agreed that "men and women are not close in giving and receiving" and put forward the code of conduct of "courtesy" and "right" for some behaviors that have to be "given to each other". There are many such works. In short, their attitude towards women is basically contemptuous and demeaning. During the Qin and Han dynasties, the state began to promote ethics in the form of decrees. As far as regulating women's behavior is concerned, it strengthens women's "chastity" consciousness. Since the Han Dynasty, there have been specialized female teachers, namely Ban Zhao's Women's Commandment and Liu Xiang's Biography of Women. Influenced by these traditional collective consciousness, with the society's attention to women's "virtue", especially the spread of women's education, another tradition of female beauty was gradually formed in Ming and Qing Dynasties, that is, the tradition of paying attention to moral cultivation, emphasizing the unity of internal temperament and external behavior, with dignity, elegance, modesty and implication as its external characteristics and profoundly embodying the moral and ethical norms of feudal society as its internal characteristics. This standard of female beauty has gradually evolved into a fixed pattern, which has had a far-reaching impact on China people's aesthetic consciousness and female concept. Cao Xueqin invariably uses this model to construct his characters, such as Baochai and Li Wan, who are typical modest gentlemen, while Daiyu is a rebellious woman who tries to break through the inherent aesthetic model but has reservations. Facts have proved that Daiyu was also a lady of that era, a unique classical lady, and a large number of previous examples also proved Lin Daiyu's reserved and implicit side. Cao Xueqin kept this necessary flag which can reflect the beauty of women. The beauty of Daiyu is just as a comment said: "She is a beautiful image saturated with China's excellent classical literature and spiritual tradition, a girl with a strong poetic temperament influenced by the outstanding historical poets of the Chinese nation, a poetic person with an indescribable charm and a unique style that shocks the world." "This is a nearly perfect figure, showing a comprehensive beauty, which lacks the tenderness and lingering peculiar to women, and there are some valuable qualities that are beyond the reach of ordinary women and seem to belong only to men. " [5]

In addition, Lin Daiyu's coquetry and reserve in love is actually a manifestation of her great love for Baoyu, which is "the more you love, the more you love" and "perfect destruction". Her concept of equality made her never allow Baoyu to be unfaithful to her, and as a noble lady, she dared not express her love positively, so she had to explore by crying or being annoyed and vent her dissatisfaction at the same time. This just shows the unique beauty of women's modality, which is exactly what was commented before the eighth time in Red Eye Zhai Re-evaluating the Stone Story: "The illusion is strong, so there are many resentments, so don't be jealous." Western aesthetics attaches importance to the sense of space, while China's aesthetics attaches importance to the sense of life, which is manifested in the fact that Eastern art attaches importance to "spirit" and rejects the temptation of "meat". No matter what content is reflected in China's art, there is a "spiritual" leap. China people always pay attention to temperament, grace, character and upbringing. Lin Daiyu's reserve embodies a kind of education and personality beauty. Chernyshevski once said: "The beauty of personality is the highest beauty in the world that our feelings can understand." [6] The dignity of Lin Daiyu's personality made her preoccupied with Baoyu, but she didn't know what to say and didn't allow Baoyu to point it out. She just let it slip and complained that she was sad and sick. This is the combination of its internal temperament and external characteristics. It can be said that the consistency of appearance and internal quality of personality is the aesthetic standard for Cao Xueqin to create the image of Daiyu in A Dream of Red Mansions.

three

Writing about Baodai's love in A Dream of Red Mansions is not only to praise their love, but also to write about the things behind their ups and downs. Cao Xueqin's description of Lin Daiyu's reserve is not only to show her classical beauty, but also to write the social content behind her reserve. The image of Lin Daiyu, a noble girl created by Cao Xueqin, combines the characteristics of the feudal era of the Qing Dynasty and reflects the reality. First of all, Lin Daiyu is a vivid image with human complexity. She is a living person with rich social content, reflecting the historical features of China feudal society in the18th century. Therefore, this character image is far greater than the thought, and it is a typical character in a typical environment with high typicality, rather than a single formulaic and conceptual character lacking authenticity. The reason why Lin Daiyu is reserved, in the words of Jiang Hesen, is: "On the one hand, it is because this girl has never lost her class nature, and at the same time, it is because she has accumulated too thick historical stratum." [7] What kind of "historical stratum" is that?

Just like Baoyu's "sadness", Daiyu's "reserve" has extremely rich and profound social connotation, which is the most touching feature of these two artistic models and the essence of the text.

The time when A Dream of Red Mansions was conceived and born was the heyday of the Qing Dynasty, which was called Kang, Yong and Gan, and it was also the last time that feudal China was exposed to the world. On the surface, the song and dance are peaceful and the political situation is stable, but in the bones, it is full of long-standing historical repression and all kinds of difficult-to-define disturbances. Under the control of political ethics center and patriarchal small-scale peasant economy, the ancient feudal China lasted for two thousand years, and its vitality gradually declined. In order to seek a stable situation in the closed old shell, countless literati have gone through a difficult life with the ideal of "mending the sky": Cheng Hao, Cheng, Zhu, Fang Xiaoru, Zhang, Huang Daozhou ... The tragic connotation of historical development is thought-provoking. The cry of local commodity economy and individual freedom with heterogeneous tendency in the middle of Ming Dynasty also shrank into a psychological undercurrent with the turmoil in the late Ming Dynasty and the entry of Qing soldiers. Therefore, with the arrival of the "prosperous time of Kanggan", the explorers lost their way. Even if some keen scholars realize that "Heaven" has been broken and it is difficult to mend, they can't explain the specific connotation of the decline of prosperous times from the theoretical height of historical development, and they can't jump out or return, or be nihilistic, or indulge in the three realms and five permanents of China's late ancient explorers. In literature, after the emotional excitement in the middle of the Ming Dynasty, it changed at the turn of generations and became a strong sense of historical reflection: deep, calm and bitter. Peach Blossom Fan, Immortal Palace, Nalan Ci, Strange Tales from a Lonely Studio, Literati, Dream of Red Mansions ... The bleak wind and rain and the sad songs of vicissitudes of life reflect the feelings of the times of a class and are the lamentation of the souls of advanced intellectuals who are close to despair and rootless. This is a gloomy historical background. Lin Daiyu was born under this background. To a certain extent, she entrusted the feelings of a scholar. As far as her reserve is concerned, it is not difficult to imagine that this is an occasional suffocation when a person pursues individual freedom. The background that is hard to get rid of is the sulking that causes this suffocation.

In the cultural system, ethics is the deep design of social life order and individual life order. Therefore, Lin Daiyu always has a kind of resistance when pursuing her own love, which makes her have some reservations that she doesn't want to appear but unconsciously. This is the deep design of ethics for the order of personality life. Love, at that time, meant a serious rebellion against the whole social order. What feudal rulers "hate" is not fornication, but love. Because if freedom of love is allowed, it will inevitably break a series of feudal orders, such as male superiority, polygamy, patriarchal clan system and so on. And the most taboo human rights of feudal autocratic monarchs are bound to be awakened through freedom of love and autonomy of marriage.

Ethics is often combined with history. History is a process of development, which includes all aspects of social life. All profound problems will form a historical temperament and historical psychology. The temperament formed by the ethics of feudal society under the historical evolution will also be imposed on everyone, and then internalized into people's conscious consciousness. For example, feudal society imposed it on others, and then internalized it into the "lady" temperament of women's conscious consciousness at that time. The so-called "feudal lady" is a relatively broad concept, and it is difficult to have a strict definition, even if it comes from the Book of Songs? In the long history of China for thousands of years, the connotation of Guanju has also undergone complex changes. In the dictionary of feudal morality, only by meeting the requirements of "three obedience and four virtues" can we meet the standard of "speaking with virtue and doing things with tolerance", while in the relationship between "talent" and "virtue", the principle of "women without talent are virtuous" is followed. Such a woman can generally be called a "feudal lady". Although some people of insight in the Ming and Qing Dynasties, such as Li Zhi, Yan Yuan, Wang Zhong and Yuan Mei, put forward their own views on women's "chastity", "courtesy", "learning" and "seeing", the overall view of the whole society has not changed because of this. There is no doubt that Daiyu retains some temperament characteristics of "feudal lady", but based on her personal cultivation and different environment, she shows distinct personal characteristics and fashion of the times. She is an idealized lady. Daiyu's inner desire and pursuit of the true meaning of "beauty" and pure love was suppressed invisibly by feudal traditions and obstructed by feudal families, leaving a soul that hated heaven in infinite sorrow. If the time when A Dream of Red Mansions came into being is the background that leads to Daiyu's reserve, then the Jia family environment is the concrete background that can't be ignored. The background hangs over the whole society, and the specific environment is the realistic embodiment of the background.

Jiafu is "the hometown of Zhong Ming's delicious food and the home of Momo's poems and books", which is essentially the epitome of feudal society. Therefore, Jia Fu has his own rules, that is, "if he has any tricky and eccentric problems, he should still be serious when he meets strangers." "If he just doesn't know anything, he won't win honor with adults, and he should be killed by how he was born." In the Jia family, which pays attention to "politeness", there is no reason why Lin Daiyu, a grandson's foreign guest, is special in the face of such unambiguous hard indicators. After she came to Jiafu, not to mention the collective unconscious drive and the hint of specific environment, from the objective conditions alone, Jiafu did not let her go with the flow. On the night of their arrival, the Jia family gathered a whole entourage, including four teachers, who taught them all the food, language, behavior and manners. In addition, elders and even maids give advice from time to time. The Grand View Garden seems to be a world where sisters are free, but it is always within the walls of the Jia family, and the daughters inside are also bound by the shackles of feudal ethics. It can be regarded as a cage for detaining daughters so that they can't move freely, just as an old official said to Jia Qiang, who was carrying a caged bird: "Your family brought good people in and put them in this prison just to learn this. In the Grand View Garden, Lin Daiyu is undoubtedly the most conscious and independent female image. However, in the face of reality, her indifference, resistance and rebellion are actually quite limited, even if the ideological premise on which she mocks and satirizes others is still deeply dependent on traditional values. On the one hand, she hates the chaotic and filthy social environment in which she lives and declares war on it with practical actions; On the one hand, in order to survive, she had to bow to reality to some extent. Life is endless contradictions and pains for her.

In short, from the perspective of history and feudal ethics, Lin Daiyu's reserved performance is inevitable. she .....................

References:

1, [1][3][7][8][9] A Dream of Red Mansions by Jiang Hesen? On Lin Daiyu [M], Beijing People's Literature Publishing House, 198 1.

2.[2][4] Wang Kunlun's collected works? Lin Daiyu's Love Tragedy [M], Beijing Unity Publishing House, 1988.

3, [5] Jiang Xiaolan, on the truth and beauty of Lin Daiyu [J], Journal of Anshun Normal University, 2003.

[6] Xin, translation, literature 4? Zhong Juan [M], Shanghai Translation Publishing House, 1979.

Precautions:

① The argument here refers to Li He: Qing Dynasty Novels, Anhui Education Press, 1989, p. 196- 197.

② See Tang Fuling: Literature History of Ming and Qing Dynasties? Qing History Volume, Wuhan University Press, version 199 1.