Readings from Anyuan

Author: Peng Ding'an
Publisher:
Publishing Date: 2001-10-01
Features: The articles collected here are all related to reading; most are short essays published in newspapers and magazines; a few are academic articles, but all are related to reading. Several travel writings about foreign countries also have the nature of "cultural observation." Moreover, as Taitaro said in Anthropology of the Text, "natural traces" and "natural landscapes" are also "reading objects," a kind of "humanistic discourse." Therefore, my observations and feelings about foreign landscapes are also a form of "reading." The articles are not specifically categorized, but similar texts are grouped together for easier reading. The greatest value of Reading Notes from An Yuan lies in revealing the changes in the history of Chinese spiritual culture over the recent two decades from a special perspective, forming an unforgettable cultural scene in people's memories. Most of the notes recorded in this book were written during the era of the most vibrant spiritual and cultural atmosphere in China's new period, hence they bear strong marks of the times. Whether it is the author's studies on Lu Xun, research on the psychology of artistic creation, or studies on reception aesthetics, or his reading notes and diaries, all reflect this characteristic. In his book Lu Xun—The Guardian of Chinese Culture, Wang Furén proposed a creative viewpoint that Lu Xun studies shifted from earlier works and thought studies to cultural value and meaning studies after the 1980s. This perspective is well reflected in the chapters "About Lu Xun" and "About Hu Shi" in Peng Ding'an's book. The section "About Lu Xun" clearly breaks away from a single sociological and political research perspective, placing Lu Xun in the great tide of the convergence of Eastern and Western cultures in the 20th century, exploring the influence of writers such as Andreyev, Baudelaire, Chekhov, Nietzsche, Natsume Sōseki, Byron, and Shelley on Lu Xun's art. This undoubtedly greatly expands the field of Lu Xun studies. Additionally, this section explains the meaning of Lu Xun's works from multiple perspectives such as reception aesthetics, creative psychology, poetic characteristics, and narrative structure, reflecting the evolution and advancement of the author's academic thoughts in the new period. In the reading notes "About Hu Shi," the author provides a detailed comparison of the similarities and differences between Hu Shi and Lu Xun, two giants of modern Chinese culture, in terms of cultural choices, emotional patterns, and values. These "fragments" and "pieces" authentically record the journey of the author's academic heart and soul, revealing the tendency of academic research in China during this period to become more personalized, diversified, and self-reflective. The book is rich in materials, involving most of the literary and academic masterpieces, covering disciplines such as philosophy, aesthetics, psychology, literature, and art. The author also demonstrates a contemporary scholar's ultimate humanistic concern and spirit in the book. Regarding humanistic spirit, it is a term that has been frequently discussed in recent years, but to this day, people still cannot give it an accurate and strict definition, and its use tends to be generalized. However, understanding it as "a universal human self-care, manifested as the maintenance, pursuit, and concern for human dignity, value, and destiny, the high appreciation of various spiritual and cultural phenomena left by humanity, and the affirmation and shaping of a comprehensive ideal of a well-rounded personality" (Chen Yan: The Adherence and Call for Humanistic Spirit by Ye Lang) would be largely accurate. In Peng Ding'an's book, we see an upright scholar who consistently upholds his humanistic ideals and moral integrity, calling for the early realization of humanistic ideals with sincerity, even a touch of urgency. For example, in the reading notes from his time in Germany, he frequently mentions the reasons for Germany's resurgence: the emphasis and care for the spiritual homeland of humanity. The fine rain of Jiangnan shrouds the world in mist, making Donghu Lake even more beautiful in the haze. Dotting the lake are fishing boats drifting in the mist, and the mountains, waters, houses, and trees by the lake are all enveloped in a dreamlike, hazy aura. I walked alone along the lakeside path, enjoying the beauty and tranquility. Soon, I came to a bridge stretching toward the lake's center, where there was an ancient temple, now the county people's education bureau. I crossed the bridge toward the temple and spent the better part of the afternoon in the library. Due to the rainy weather, the library was empty except for me, and I read in silence. In a corner sat a young female librarian, who was my music teacher in primary school. Her name was Dai Mengqin, a very beautiful name. I was reading a pictorial magazine published in Shanghai. I love looking at the pictures and enjoy reading the English translations of the captions, which were in English-Chinese parallel text, helping me learn English. Most of it has been forgotten, but I still remember those scenes. What I have read and remembered is not important; what matters is the feeling of reading, the sweet and wonderful experience of reading in the fine rain and silence. It remains a beautiful memory and feeling in my heart, a beautiful home in my chaotic mind. Recently, while flipping through Zhou Zuoren's Notes on Bitter Bamboo, I found a small note inside with the following passage written on it: "Zhi Tang's reading notes on patience are quite good, much better than his formulaic notes, which are rather dull to read. His discussion on patience is divided into Confucian, Taoist, and Buddhist perspectives, and it is deeply meaningful. It would be a good idea to write an article about it.'93, the last day. Two years have passed since then, and I wanted to write something, but now I can't remember a thing. However, this note and the 'comments' it sparked have led me to think about the Chinese art of 'patience.' Zhou Zuoren's reflection was triggered by a line of poetry by Du Mu, a Tang Dynasty poet known as 'Little Du,' which says, 'Enduring patience is joy.' Zhou Zuoren said that Little Du was a charming scholar, free-spirited and elegant, but he also practiced patience, not just indulging in his own pleasure. In fact, 'Little Du' may not have truly been able to endure patience, but the cultural mindset of Chinese scholars has always emphasized patience. This is a very deep cultural heritage, almost a collective unconscious of the nation. However, in recent decades, with continuous movements and frequent struggles, and with 'struggle philosophy' as the highest theory and life principle, the character of 'patience' has been criticized relentlessly, leading to the current widespread tendency of people to be overly competitive and aggressive, engaging in arguments, fights, and even killings. Zhou Zuoren summarized that although the cultural characters of Confucianism, Taoism, and Buddhism are different, they all advocate the spirit of patience, though their motivations and purposes are not the same. Buddhism speaks of 'patience in life' and 'patience in law,' able to endure slander, beating, and harm, as well as anger, worry, grief, doubt, lust, arrogance, and indifference, with a very broad scope. Its purpose is to become a Buddha. Taoism advocates patience, saying, 'The most peaceful is one who practices patience,' with the goal of 'preserving one's life in chaos.' We might say that the teachings of Buddhism and Taoism on patience are both about transcending worldly life. What is the essence of patience in Confucianism? Zhou Zuoren said, 'In the Analects, it is said that 'a small lack of patience leads to chaos.'"