Abstract: The complicated and contradictory acceptance history of Water Margin stems from its rich cultural connotation. Generally speaking, Confucian culture and chivalrous culture are the most important ideological pillars. Confucian culture based on rational spirit and chivalrous culture based on perceptual impulse exist in Song Jiang and other main figures in a contradictory and unified way, which makes the individual's psychological structure show an order of bleeding and reason interwoven. This is the basic expression of the culture of Confucianism and chivalry in Water Margin.

First, the psychological connotation of Confucian culture in Sung River

Among China's several classic novels, The Water Margin is probably one of the most controversial texts. Since its birth, lawsuits have been going on and never stopped. As far as the theme and significance of the book and the study of the image of Song Jiang closely related to it are concerned, there are different opinions, some of which are quite different. Generally speaking, the Ming and Qing dynasties or the main "loyalty" said that Song Jiang was "loyal and strong"; Or the master's theory of "teaching thieves" thinks that Song Jiang is a "traitor" who wants to replace Zhao and Song. The former is represented by Li Zhi, while the latter is represented by Jin Shengtan. There is a serious opposition between them. After the founding of the People's Republic of China, despite the influence of political utilitarianism, vulgar sociology and other unhealthy styles of study, the study of Water Margin was once reduced to the mouthpiece of political struggle, but the overall achievements have been greatly improved, and various research methods and perspectives have been adopted by everyone, truly forming an academic situation in which a hundred schools of thought contend. After refutation and discussion, the academic circles generally believe that the arguments such as "peasant uprising", "loyal and traitor struggle" and "citizen" are reasonable, and there is room for complementarity between them.

It should be said that Water Margin is a rather complicated and contradictory book. On some fundamental issues, such as the image of Song Jiang and the nature of Liangshan Uprising, any reader can clearly feel these contradictions. The key to the problem is not discovery, but how to explain it. This paper only discusses the causes of contradictions in the novel from the perspective of the cultural connotation of the main characters.

To interpret the book Water Margin, we must first interpret Song Jiang, but Song Jiang is a very complicated and difficult person to interpret. Jin Shengtan: "It is the easiest for people who read this book to read Biography of 170 People, and the most difficult to read Biography of Sung River" (back to the 35th). Therefore, some people called it "fierce loyalty", some denounced it as a traitor dummy, some praised its people's character and revolutionary brilliance, and some criticized its compromise and surrender. I'm afraid the difference is too big. There are no other characters in classical novels. Zhang Guoguang also put forward the proposition of "two sung rivers". Actually, Song Jiang is still Song Jiang, but there are two values in his psychological structure, which are sometimes harmonious and sometimes contradictory.

One of the values is the attachment and maintenance of group order based on the Confucian cultural background. It is also a Confucian cultural mentality based on rational spirit. As a small and medium-sized landlord, Song Jiang could have entered the official career through the imperial examination, but perhaps because of his limited literary talent, he was only an official in the yamen, which was far from the ambition of traditional intellectuals to serve the country, but he did not lose heart. He tried his best to help the poor and help the poor and stabilize the society. "He often gave medicine to coffins, helped the poor and helped the poor, and made quick success" (No.65438). Later, he was stranded in rivers and lakes because of a lawsuit over human life. On the one hand, he kept close contacts with heroes in the Jianghu, on the other hand, he refused to become an outlaw, trapping himself in disloyalty and injustice. This shows that he still maintained the normal social order and did not agree with the hero's private work. After Jiangzhou robbed the gift, Song Jiang could no longer survive under the normal system and had to go to Liangshan. After going up the mountain, he repeatedly declared that "all peoples take refuge in Shui Bo, only to be pardoned by the imperial court", and played the banner of "helping heaven, protecting the environment and protecting the people", flaunting "benevolence", "loyalty" and "serving the country together", all of which are concrete manifestations of Confucian benevolence, meritorious service and career. In order to make peace, he even made the conflict between his brothers public. After his successful enlistment, he finally tried his best to maintain the state order, so he enlisted Liao, Ping Tianhu, Wang Qing and Fang La. A series of military operations killed or injured 108 people until he was finally treated unfairly and died. He still expressed his loyalty without regrets: "I would rather lose my loyalty to the imperial court", and in order not to cause disorder, he also put out the fire in jy, Li Kui. Throughout Song Jiang's life, we can see that Confucian culture is his psychological foundation. The name of his filial piety, his loyalty and his innocent death without regrets should be explained from this psychological basis. In the past, he commented on Song Jiang and always said that he was capitulating, but it was not. Song Jiang didn't mean to subvert the Zhao and Song Dynasties and the feudal order in his heart. Of course, there was no question of surrender.

However, if Song Jiang only had the psychological content of Confucianism and the spirit based on rationality, he could not be Song Gongming's brother who was impressed by many heroes. History of the Song Dynasty and other historical records recorded that Song Jiang "plundered ten counties, but the officials dared not stop it", which obviously had a devastating impact on the feudal regime. Although it was rewritten as anti-loyal minister to win over, which played down the color of class opposition struggle and enhanced the meaning of political loyalty and treachery struggle, Ren Huang still pointed out that the blueprint of Song Jiang's image was the short stories in Historical Records. Guo Jie in the ranger biography. Chen Hong's Biography of Jin Shengtan also points out three sources of Song Jiang's character: one is "Mountain King"; Second, by the historical records? Guo Jie's chivalrous spirit can be seen from The Ranger Biography: the third is the filial piety thought of Confucian personality ideal. Another value measure in Sung River's psychological structure is the nature of joy, hatred and resentment, which is based on the chivalrous cultural mentality of blood and life, and its manifestations are as follows:

Second, the gang nature of chivalry.

As a county magistrate, Song Jiang learned a lot of martial arts from his childhood (the first time 18). Besides, he works in yamen and has many opportunities to meet heroes in Jianghu. The way to get to know each other is to be generous and do your best to support them; Second, proficient in knife and pencil, proficient in official road. Back to 18, there is a saying in the book that he is "easy to handle and easy to handle, and every time he solves a problem, he only cares about the lives of others", which vaguely reveals the news that Song Jiang has perverted the law because of his affair. A typical example is his private distribution of classical works. When Song Jiang learned that Chao Gai's robbery was investigated by the imperial court, he thought to himself: "Chao Gai is a confidant brother, but now he has committed a heinous crime. If I don't save him, he will be arrested and his life will rest. " A public official in a public security system became bosom friends with the chief criminal of the robbery. Isn't it in Cao Cao's heart and in Korea's heart? If we know that the robbery of the birthday class has committed a heinous crime, but risk a lot of contacts to tip off the news, isn't it just knowing the law and breaking the law? Sung River actually knew what was at stake, so when he blackmailed Yan Poxi, he killed him without hesitation. Judging from the normal concept of legal system, it is the first time that Song Jiang made a mistake by bending the law privately, and it is also a mistake for Song Jiang to break the law again. These two actions are based on personal bloody events, ignoring national laws and disciplines. What is reflected in this is actually the gang nature of the homeless society. It is a kind of gang nature that only talks about the self-interest of the enemy and ourselves, does not talk about right and wrong, and recognizes and cooperates with each other. It is also the so-called loyalty of rivers and lakes, which is undoubtedly destructive to the normal social order.

Third, the antisocial nature of chivalry.

An example is the poem inscribed on the upstairs of Xunyang, Sung River. It's not just drunken talk, but a person's mind after being suppressed for a long time. Look at his poem "Xijiang Moon": "A tiger lies in a barren mountain, but its hidden claws endure." "If he had taken revenge that year, he would have washed the Xunyang estuary with blood." Isn't that sentence in the quatrains, such as: "If he is in his prime, he dares to laugh at Huang Chao for having no husband", so the antisocial nature is unusually clear? On the way to Jiangzhou, Song Jiang was rescued, and many heroes tried to rob him up the mountain, but he stopped him. Seems to respect the law. However, here, it is self-contradictory to take "blood-stained Xunyang estuary" as a pleasure to wash away grievances. Jin Shengtan did not make friends with Song Jiang in the name of "loyalty". He thinks that Song Jiang is the thief of "crooked ways". In the fifty-seventh reply, it was pointed out that "if classical works are released privately, no one will be forced" and "Xunyang writes poems, reflecting on revenge, and I don't know who the enemy is". This personal feud based on gangs is destructive to normal sociality. But Song Jiang is not an out-and-out chivalrous man, and his psychological foundation is Confucianism. So when Huang Wenbing sees through his anti-poem, he will get rid of it quickly and kill it by extremely cruel means (executed by Li Kui jy). Here, the means of chivalry is the protector of Confucian purpose.

Fourthly, the complexity of Song Jiang's characters.

In Song Jiang's psychological structure, two different cultural backgrounds, Confucian culture and chivalrous culture, are intertwined, forming the character basis of Song Jiang's resistance and compromise. An anonymous book "After Reading the Water Margin" commented: "The hero has the nature of a saint, while the other has the nature of a thief." [2] In Song Jiang, the culture of Confucianism and chivalry is almost parallel, so the image of Song Jiang is the most complicated.

Besides Song Jiang, there are many other characters who have two cultural forms, such as Lin Chong. According to the previous figures, Lin Chong's experience can best reflect the process of driving him to Liangshan. Lin Chong's character is a typical character from weakness to resistance, which embodies the characteristics of the development and change of characterization in Water Margin. In fact, at first, Lin Chong put up with it again just because he didn't want to break the life within the existing system. He has a strong attachment to system and order. Later, he also endured Wang Lun's anger, was relegated to a lower position, and was able to take pleasure in it. But Lin Chongbi is not Wu Dalang, he is a courageous and bloody hero, so when the order he wants to attach can no longer give him a stable life, he will inevitably rise up and carry out bloody resistance, so he first killed Lu Qian and Fu 'an, and then merged with Wang Lun. What we see from Lin Chong is the change from Confucian cultural mentality to chivalrous cultural mentality.

The author of Water Margin wrote two contradictory aspects in the psychological character of Song Jiang and other characters. Some scholars believe that this character is dual and split. This description turns the characters into two completely unrelated people, which has no basis in life and reality. Actually, like Albert? Eco said: When you find two opposites, you fall into ideology. When you express the world as either one or the other, it proves that you are trapped in an ideology. As a moral culture, Confucian culture pays attention to the balance of interests among groups (of course, it can only be relatively balanced). It is based on rational spirit, and often requires individual sacrifice and transcendence to maximize the interests of the group. Stable order is its external manifestation. Chivalry culture, on the other hand, shows the color of individual culture, attaches importance to the reciprocal return of personal gratitude and resentment, and is quite emotional and bloody. It seems that people who resist injustice are trying their best to maintain a just order, but the standard of justice is still on themselves, so the result of happy vendetta often hurts the order. For a living individual, there is both an instinctive impulse to spray blood and the need to sublimate moral rationality, so the psychological structure of the individual must be an order in which blood and rationality are intertwined. Song Jiang is so, so are Song Wu and Lin Chong. Li Kui jy looks simple and is rarely bound by reason, so the image of Li Kui jy is further away from reality. It should be said that the complexity of people determines the complexity of characterization in Water Margin, and the complexity of characters makes the plot of the novel tortuous and the theme difficult to understand. Confucianism and chivalrous culture are the two ideological pillars of the heroic legendary novel Water Margin, which are vividly reflected in the character form.