The Romance of the Three Kingdoms describes the rise and fall of the Three Kingdoms, which has gone through five periods: the Yellow Scarf Uprising, the Dong Zhuo Uprising, the separatist regime (Guandu Battle, Battle of Red Cliffs), the tripartite confrontation among the three realms, and the return of the three realms to Jin.
The Yellow Scarf Uprising began in Taoyuan. After the Yellow turban insurrectionary uprising, the Eastern Han government counterattacked, Liu Bei, Cao Cao and other heroes appeared, and the Eastern Han regime was about to perish.
Dong Zhuo's Rebellion tells the story of Dong Zhuo's rescue from He Jin's struggle with ten courtiers to Shao Di's escape from Beijing before and after he entered Beijing. After Dong Zhuo entered Beijing, he bought Lu Bu, abolished Shao Di, established Xian Di, monopolized power, and practiced tyranny, forcing the allied forces to cut Dong Zhuo. Although the allied forces failed later, Dong Zhuo was finally killed by Lu Bu.
After the death of Dong Zhuo, the princes in the Central Plains were leaderless. In order to expand their territory, they were mainly divided into three war zones, namely Yuan Shao and Gongsun Zan in the north, the rise of Sun Ce in Jiangdong, and the war between Cao Cao, Liu Bei, Lu Bu and Yuan Shu in the Central Plains.
After that, I won't elaborate on the three points in the world, and the world belongs to gold. The most important thing is to talk about my own understanding and views on the romance of the Three Kingdoms.
In Romance of the Three Kingdoms, Cao Cao is my favorite. Although Liu Bei was written as a traitor in order to highlight his righteousness, his military talent has not been obliterated. During the years of crusade against the West, he occupied a large area of land north of the Yangtze River, and even ethnic minorities surrendered to him. He is the most talented of the three monarchs, and Wei is also the most powerful of the three. He laid the foundation of Wei, and later Jin was able to enter Wei.
The thirst for talents is also a place worthy of appreciation for Cao Cao. In order to select more talents, Cao Cao broke the standard of appointing officials according to feudal virtue and the rank of his younger brothers, and put forward the employment policy of "meritocracy". In the spring of 2 10 A.D., Cao Cao summed up the historical experience at the beginning of the stage, and thought that since ancient times, there was no one who was the founding emperor and the king of Zhongxing without talents to rule the world together, and talents often did not leave the hutong. This is by no means an opportunity, but a search and visit by those in power. In view of this, Cao Cao pointed out that now the world is undecided, and it is the moment to be thirsty for talents. He hopes that people around him will not consider their origins and help him find and recommend those who are born in poverty and buried. In AD 2 14 and 2 17, Cao Cao issued a talent-seeking order twice, repeatedly emphasizing his "meritocracy" policy in employing people. He asked personnel departments at all levels and local officials not to pursue perfection when selecting talents, even if they have such shortcomings, as long as they are truly talented. After some efforts, Cao Wei concentrated a large number of talents. For a time, all localities and regions. Advisers are like rain. For talented people, Cao forgot the past. For example, Chen Lin, who was originally a subordinate of Yuan Shao, once drafted a campaign for Yuan Shao, cursing Cao Caozu for three generations. After Yuan Shao's defeat, Chen Lin defected to Cao Cao. Cao Cao asked him, "You wrote to Yuan Shao before, and a person scolded me. Why did you scold my ancestors for three generations? Chen Lin hurriedly.
Cao Cao's success is not only because of his outstanding talent and good at recruiting talents, but also because of his broad mind. After the fiasco in Chibi, Cao Cao did not feel helpless, but smiled and said, "Today's North is still under my control". San Xiao showed optimism about the setbacks. Cao Cao is also a person who is very interested in literature. He likes to write poems. Even if the war is imminent, his interest will not change. Many of his poems are music.
From the Romance of the Three Kingdoms, I learned Cao Cao's literary talent, foresight, foresight, planning before the war, calmly doing things during the war, and combining prevention and control after the war. I deserve to be a hero in troubled times during the Three Kingdoms period! I admire Zhuge Liang's wit, courage, courage and carefulness, and I am amazed by Qi Xin, the heterosexual brothers of Liu Bei, Guan Yu and Zhang Fei! We are a new generation of successors. I want to learn from the heroes in the Romance of the Three Kingdoms in troubled times and shoulder the burden of the motherland!
To sum up, there are three inspirations.
First of all, the fact is simple. The so-called "dullness" is the peaceful mentality and realistic attitude that should be held in academic research. Shen Deqian's "Exceptional Poems in Tang Poetry" said: "Scholars are calm, which means that they are self-sufficient and not self-reliant, and they are reluctant to make peace." This is true for readers of poetry and for people who study ancient novels. The analysis of Mr. Shen's origin and the analysis of fallacies and mistakes confirm this truth. There are no sharp words and dazzling words in the text, but they can always be impressed by the internal logic and amazed by careful thinking through the plain language surface. Why is this happening? The key is to face the research object with a peaceful mind, and then play it calmly, and the real question will naturally flash. If you want to be unconventional and make a blockbuster, you have to pretend and be irrelevant. So we should use exciting words to cover up the emptiness of the content. This is an academic impetuosity caused by quick success and instant benefit. Although conscious, young scholars often repeat the same mistakes. Therefore, the plain style of writing embodies Mr. Shen's academic mentality of eliminating distractions and prejudice. Therefore, he has no intention of Yu Lixin's theory, but it is logical, and sometimes he has inventions. Take Textual Research on the History of the Three Kingdoms as an example. In this paper, the first volume of the popular Romance of the Three Kingdoms is slightly compared, and a fallacy is found: The Romance of the Three Kingdoms is by no means a list of characters. However, the conclusion that "The Romance of the Three Kingdoms has written more than 400 words" is drawn from the History of the Three Kingdoms, which has long been rumored to be wrong. The revelation of this simple fact has revised our narrative of The Romance of the Three Kingdoms, so it is of great significance. Mr. Shen's thinking does not stop there. Where did this list of historical figures of the Three Kingdoms come from? By comparing and analyzing the catalogue of the Three Kingdoms with the catalogue of the Three Kingdoms, the problem becomes clear at once. The Catalogue of the Three Kingdoms is only a slightly distorted copy of the Catalogue of the Three Kingdoms, and it is not a list of characters in the novel Romance of the Three Kingdoms at all. So, how many characters did The Romance of the Three Kingdoms write? One by one, there are more than 1200 people in * *, among which about 1000 people have names. Further questioning, The History of the Three Kingdoms is definitely not owned by Luo Guanzhong's original works. When was this chronicle of the Three Kingdoms added to the frontispiece of Romance of the Three Kingdoms? Obviously, after the publication of The Romance of Three Kingdoms, it was circulated in the form of a manuscript. This provides strong evidence for the time when The Romance of the Three Kingdoms was written, which shows that the theory that the book was written in the middle of the Ming Dynasty is difficult to establish. There is an irrefutable power in fluent, peaceful and gentle writing. Without self-reliance, objective facts naturally emerge. This style is also reflected in the articles about Luo Guanzhong's native place. The Romance of Sui and Tang Dynasties was not written by Luo Guanzhong, and the Biography of the History of Tang and Five Dynasties was not written by Luo Guanzhong. Correct the old saying that we are used to each other, and put forward further thinking if we are not sure. It is with an objective and calm attitude that we can regard the so-called * * * knowledge as our fixed view and authority as our authority. In the article "A Brief Discussion on Repeating the Case for Cao Cao", this paper puts forward some discussion opinions on Guo Moruo's slogan "Repeating the Case for Cao Cao" from the perspective of historical truth and artistic truth. Guo Moruo's theory has certain historical rationality, but it is too one-sided. The evaluation of Cao Cao in history is not a total negation, but a mixture of joy and sorrow. The crux of the problem is that Guo Moruo replaces artistic truth with historical truth. Art often uses fiction and exaggeration to reproduce an infinitely rich life. Even so, when we go deep into the historical novel Romance of the Three Kingdoms, its literariness is based on historical truth. The argument is fair and well-founded, which restores a true image of Cao Cao. This kind of real understanding cannot be achieved without empathy. As Zhao Qi said in the annotation of Mencius: "Human feelings are not far away, and it is actually worthwhile to go against the poet's will with your own will." It is by using this method that Lu Xun questioned the famous assertion that "many wise men are close to demons" in the article "Loyalty and wisdom last forever". The rendering of Zhuge Liang's ideal color comes from the artistic tradition of China's classical novel Shang Qi, which, in a sense, should conform to the psychological structure of national culture. So before the Romance of the Three Kingdoms, Zhuge Liang's image had been deified. On the contrary, Luo Guanzhong deleted some miraculous descriptions and made them return to the standard of "human". Although it is easy to use, it meets people's expectations for legendary heroes. Mr. Shen's exploration provides us with a new way of thinking to jump out of the past and reinterpret the figures of the Three Kingdoms.
A peaceful mind is easy to find problems, and solving problems requires true spirit. A New Exploration of Romance of the Three Kingdoms runs through a rigorous and steady style of study. This is reflected in the article of "technical" error proofreading in The Romance of the Three Kingdoms. After repeated reading and cross-reading of literature and history materials, especially in the process of compiling the dictionary of the Romance of the Three Kingdoms, Mr. Shen strongly felt that there were quite a few "technical mistakes" in the Romance of the Three Kingdoms, with more than 700 * *. Another amazing discovery that we tend to overlook. Mistakes must be corrected. However, this is a very laborious and hard work, which must be based on solid literary work. Firstly, the people's literature version of Romance of the Three Kingdoms was compared with the historical materials at that time, checked word by word, and found the mistakes of people, geography, official position and calendar one by one, then analyzed the reasons and corrected and classified them. Extremely cumbersome things, Mr. Shen is meticulous and methodical. The specific problem is solved, but another problem is derived. How did so many "technical mistakes" in The Romance of the Three Kingdoms come from? The systematic and in-depth understanding based on the familiarity with the version is roughly due to the mistakes in the writing process of the book, the author's own mistakes and the mistakes in copying and publishing. We can not only see the merits of diving exploration, but also grasp the overall rational thinking, and complement each other.
Flowers are more and more attractive, and the excitement will eventually dissipate into nothingness, leaving only the real thing. Mr. Shen has made tangible achievements in the study of the Three Kingdoms with his spirit and academic style, which can't be washed away by the river of time and affects our description of the study history of the Three Kingdoms. It is these achievements that have enabled the lifeblood of academics to be passed down and continued.
Second, deep academic feelings. In the postscript of Jiajing Edition of Popular Romance of the Three Kingdoms, Mr. Shen once described himself like this: "How tired is it to meet the morning, sit alone at night, and sit alone at cold night?" Tells the loneliness and hardships of the academic road. But he can persist for more than 20 years, and with his unique persistence, he is engaged in painstaking research on the Romance of the Three Kingdoms. Without a heartfelt love for academic research, it is difficult to support this boring and hard work. Of course, as a great work that has exerted a wide and far-reaching influence on the Chinese nation and national character, The Romance of the Three Kingdoms has rich ideological connotation, strong artistic charm and profound cultural value, which also makes Mr. Shen enjoy it. As a result, scholars' sense of mission arises, that is, it is their responsibility to inherit and carry forward the excellent traditional culture of their own nation. Therefore, tedious and arduous academic research has spiritual significance. Therefore, reading A New Exploration of the Romance of the Three Kingdoms, we feel not only the rigorous style of study and meticulous spirit, but also the profound academic feelings hidden between the lines. Textual research is no longer for textual research, proofreading is no longer for proofreading, and analysis is no longer for analysis. They have the ultimate destination, that is, how to better organize, excavate and carry forward this cultural heritage. For example, in the article "Several Problems in Re-proofreading the Romance of the Three Kingdoms", the author made a reasonable rebuttal to three kinds of questions about re-proofreading the Three Kingdoms. The article holds that today's Three Kingdoms cannot be accommodated by literature. People read The Romance of Three Kingdoms not only for aesthetic pleasure, but also for the growth of knowledge and the enlightenment of wisdom. In this way, the "technical mistakes" that can be seen everywhere in the book can not but damage the cognitive value and aesthetic value of the works to a certain extent. In addition, there are various versions in the history of the Three Kingdoms. For example, The Romance of the Three Kingdoms, revised by Maureen and Mao Zonggang, has been recognized by readers from generation to generation, without the evil of "pseudo-modification". Therefore, re-collating The Romance of Three Kingdoms can only make it more perfect. No matter from the perspective of caring for this heritage, or from the perspective of promoting national culture, it is very valuable. But for such a tentative and very complicated project, we still need an objective, cautious and meticulous attitude, and we need the wisdom and efforts of researchers from the three countries.
Objective calmness does not mean emotional suspension, especially in the study of literature. Without rich life emotion and experience, we can't get close to the core of literary works. So, how to strike a balance between objective attitude and subjective emotion in academic research? Chen Yinque has a very real understanding of this: "The so-called true knowledge. To meditate in a trance is the same as what the ancients said. The reason why they want to hold their own opinions is because they have to be painstaking and sympathetic, so that they can criticize the gains and losses of their theories without being separated. " Mr. Shen also has a heartfelt understanding and experience in studying the Three Kingdoms, that is, "seeking truth from facts and going deep into details." How to truly understand the author's structural plot and the intention of shaping characters? Must be in the same realm as the creator. If we follow the viewpoint of western hermeneutics, that is, get the same vision as the author, dialogue is possible. As far as Romance of the Three Kingdoms is concerned, it belongs to our nation from generation to generation, and people from all walks of life read it with piety and expectation. Therefore, it always attracts us to explore its profound ideological connotation and rich artistic charm. However, the barrier between time and space, especially the preconceived setting of western literary standards, often leads to our understanding of classic literary works being biased, and even wrong evaluation. Even Lu Xun, who laid a theoretical framework for the history of China's ancient novels, could not help being subjective. For example, the evaluation of Liu Bei and Zhuge Liang in A Brief History of Chinese Novels is biased in our eyes now. How can we be "realistic"? In Mr. Shen's words, he has an objective understanding of "the historical conditions of the times when the works were produced" In other words, it is necessary to understand the development and evolution of the stories of the Three Kingdoms, the time and version of the works and the mastery of historical materials. Lenin put it very well: "To truly understand the object, we must grasp and study all its aspects, all its connections and media." Only after all the conditions are met can we stay in the real historical situation of the Three Kingdoms, feel the true meaning of the work with a heart full of life experience, or let the author's own emotional flow touch the researcher's sense of survival. We can't tell which is the first and which is the last, because the two are originally a process of mutual dialogue. This is how the true meaning of the work is obtained. Under the premise of "seeking truth from facts", we go deep into the details of the work. Based on the principle of "seeking truth from facts, going deep into the inside story" and with the theme of "yearning for national unity and praising the loyal heroes", Mr. Shen established an overall understanding of the Romance of the Three Kingdoms, and his creative method embodied the combination of classical realism, romantic sentiment and legend. From this, we will find the tone of the character's character, find the vein of the character's development, and understand why Luo Guanzhong writes like this instead of like that. A new exploration of Romance of the Three Kingdoms, specifically analyzing the characters of the Three Kingdoms. In the process of history and literature, this paper analyzes Zhao Yun, Zhuge Liang, Wei Yan, Chen Gong, Cao Cao and The Story Of Diu Sim. This benefit can not only distinguish historical figures from literary images, but also find the author's creative intention and ideological appeal in this distinction. Take Zhao Yun as an example. Historically, Zhao Yun's achievements and status are not only inferior to Guan Yu and Zhang Fei, but also inferior to Ma Chao, Huang Zhong and Wei Yan. Luo Guanzhong combined the profound realistic spirit with the rich romantic spirit, and created a radiant image of Zhao Yun. The author highlights his virtues of courage, loyalty and modesty through the arrangement of voices and the means of comparison and contrast, making Zhao Yun the most perfect figure in the series of military commanders in The Romance of the Three Kingdoms. This is also the reason why Zhao Yun is second only to Zhuge Liang in readers' minds. At the same time, this character image responds to Mr. Shen's summary of the Three Kingdoms.
Third, go deep into it and surpass it. Wang Guowei said in "The Thorn on Earth": "Poets must be inside and outside the universe. Enter it so that you can write; Outside it, we can see it. If you enter it, you will be angry, and if you leave it, it will be high. " Yu Pingbo thinks this passage is very suitable for researchers and extends it. He also said, "When doing literary criticism, one can understand and the other can be detached. You must be in the game, and everyone in the game knows the joys and sorrows; It must be something outside the bureau, and outsiders have public opinions. " As an expert in the study of The Romance of Three Kingdoms, Mr. Shen tries to make an overall observation of the research process of The Romance of Three Kingdoms from the in-depth study of The Romance of Three Kingdoms. This can be seen from three articles: A Summary of Research on the Romance of the Three Kingdoms since the Founding of the People's Republic of China, New Progress and Breakthrough, and Research on the Romance of the Three Kingdoms Facing the New Century. It is not only a summary of past experience, but also a prospect for future research. It is this transcendental vision that makes Mr. Shen's research extend to the exploration of the cultures of the Three Kingdoms, explain its connotation, put forward feasible suggestions for the rational development of the cultures of the Three Kingdoms, and show a broad vision.
"Righteousness is always in the bosom friend, regardless of gains and losses, it will be whipped", life is endless, and the pace is always new! Teacher Shen did not stop exploring, but still wrote a new chapter at a steady pace!