林黛玉論 : 日常的解體を越えんとして

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書誌事項

タイトル別名
  • On Lin Tai-yu --Beyond Everyday Dissolution
  • リンタイギョクロン ニチジョウテキ カイタイ オ コエン ト シテ
  • 林黛玉論 : 日常的解体を越えんとして

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説明

There have been two main opposing schools of thought evident in the field of Hung-lou Meng ('Dream of the Red Chamber', 'Story of the Stone') research hitherto : the 'Aestheticist, or Autobiographical Theory ' party and the 'Realistic, or Reconstruction of Socioeconomic History' party. The tendency, apparent in both schools, has been to snip out those parts of the work which seemed suitable, string them together arbitrarily, and then to brandish them as the decisive evidense. One cannot but feel wearied and repulsed by the appearance of this sort of baseless theoretical sterility. With the intention of fundamentally controverting this theoretical sterility from a completely different angle, this article deals with the individual character in the Hung-lou Meng upon whom the most acute problem of 'dissolution' bears-Lin Tai-yü. This has seemed a major key to getting a new grasp on the Hung-lou Meng as a whole, by going beyond the level of either the 'two beauties combined in one' theory, in which Tai-yü is joined with Hsüeh Pao-ch'ai, as advocated by the autobiographical school, or the 'theory of the opposition of Tai-yü and Pao-ch'ai' put forward by the 'reconstruction of the underlying structure' party. Surely, a person who must go on living under the constraint of whatever sort of 'circumstances' would crush this sort of 'ism' or 'theory' chatter just in the act of pulling free of them, even if they had no conscious awareness of the concept of 'circumstances'. The true importance of Lin Tai-yü is that she continued to resist assimilation towards that, even while gasping for the importance of everyone who had found a reasonable way of living under the circumstances by which they were constrained. This may have been felt by the author, Ts'ao Hsüeh-ch'in 曹雪芹, among the people by whom he was surrounded at the moment of writing, and one might say that it is something closely connected with a fundamental fault-line. 'Dissolution' in the Hung-lou Meng is more than merely a 'death and annihilation wish' on the part of Ts'ao Hsüeh-ch'in, and has a more lively force (for Ts'ao Hsüeh-ch'in, in the tenacity with which he went on 'writing', continuously came up against the 'monotony' which 'circumstances' force on human beings) and thus, the death of Lin Tai-yü is not basically disposed of by treating it as 'deathpreserving Beauty', not can it be seen as the 'death of a rebel'. In so far as the difficulty of things connected with the essence of 'circumstances' is not thoroughly understood, neither the Hung-lou Meng nor Ts'ao Hsüeh-ch'in can be truly reached.

収録刊行物

  • 中國文學報

    中國文學報 26 44-78, 1976-04

    京都大學文學部中國語學中國文學硏究室內中國文學會

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