Lin Guohua "The Ornament of the Soul World, the Silent of the Political World"

Ariane 2022-01-03 08:01:22

Note: I want to write a few words for this film, but after reading Lin Guohua's article, I don't think it is necessary. A great man is a great man, and he can't accept it.

The Russian literati in the 19th century were so fascinated by the so-called “noble” “culture” that they forgot to cultivate a culture that seemed extremely low to them, a nation through which a nation could overcome the threat of fate and violence and settle down in dignity. The culture, a kind of culture that Moses in ancient times and Peter the Great in modern times had prepared: politics. Because of the lack of this culture, Russia in the 19th century was so crude and ironically lacking in culture.

In the fall of 1994, I entered the Institute of Comparative Literature at Peking University for a master’s degree, and studied 19th-century Russia with Le Daiyun and Liu Xiaofeng. The eschatological issues in the philosophy of literature and religion, I am especially fascinated by Dostoevsky, Berdyaev, Shestov and their common spiritual father, the theosophical master of German ultra-mysticism dualism Jacob Bomer, this person is second only to Kant and Spinoza in Hegel's 4-volume "Lectures in the History of Philosophy". Shestov, Berdyaev's spiritual heir, impressed me deeply.
As a Russian thinker at the end of the 19th century, Shestov was so intoxicated with the Jewish apocalyptic thought he understood, so unrestrainedly slandered rational and secular philosophical and political life, and so openly condoned his sentimentality. In his widely circulated collections of theological essays "On Job's Balance", "The Call from the Wilderness", "Athens and Jerusalem" and the comparative study of Dostoevsky and Nietzsche, he gave Spinno Shah’s moral outrage is rare, simply because the latter advises thinkers “when talking about the human world, they should never be ridiculed, sad, or cursed, but should be understood first” (Politics 1.i).
Just as Moses stood between the exile of the Jewish people and the fertile Canaan, Spinoza found himself as a Jew standing between the humiliating antiquity and the unknown modernity. "When talking about the human world, one should never ridicule, sorrow or curse, but should first understand." This suggestion on thinking habits has profound political implications for Spinoza’s own nation. It is related to His "Moses-like" political mission: By changing the ideological habits of the Jewish nation from a long moral grievance of the weak to a sound love of justice, rationality, and tough political will, Spinoza tried to lose independence The free Jewish nation was rescued from the humiliating theology-political fate, and settled in the modern human world as a quiet and peaceful "citizen" instead of the vanity, warlike and defeated "god's elect" In history.
In this sense, Spinoza's works can be titled "New Exodus" (New Exodus) subtitle.
Spinoza’s motto echoes the Seneca Stoian tenacity of the late Roman philosopher and statesman: “The things in this dunya are trivial. The reason why we decided to live in it Go down, because it still has something worth studying" (Seneca "The Problem of Nature", vii.31.2). Like Seneca in the setting sun of the empire, Spinoza, who has an insight into the world, also expressed a firm will to think about politics: we must look at the world as it is, instead of imagining it as we want it. ("Politics" Ii-iv, "Theological Politics", preface).
The source of the Russian Shestov’s moral indignation against Spinoza was not the so-called revelatory truth of the Bible that he claimed, but his own historical situation of the Russian nation that resembled the Jewish people. Not to try to change the tragic history of one’s own nation, but to treat the tragic history of one’s own nation as a literati tragedy that led to depravity in aesthetic intoxication and moral resentment. This is the original purpose of Shestov's theology, and it is also 19th-century Russia. The quintessence of the intellectual tradition of literati is the so-called "suffering Russian soul". It is actually nothing more than crude Slavic populism, the eschatological superstition of Orthodox Church, and the ancient Germanic extreme dualistic mystical theology (Egypt). A hodgepodge of Archmage Kerhart, Jacob Bomer, Hegel).
The "Russian soul" was born out of "suffering", and finally took "suffering" as its lofty home. It nourishes a nation without "political civilization". It despises "obedience" and is not "protected". It relishes It is the specious "spiritual freedom", but it is not in the yoke of body and soul, from Solovyov, Dostoyevsky, Berdyaev, to Bulgakov, Shestov, Melezhvsky, and Andreev, who invented the typical Russian-style "hit the wall philosophy", are none other than this.
The Russian literati in the 19th century were so fascinated by the so-called “noble” “culture” that they forgot to cultivate a culture that seemed extremely low to them, a nation through which a nation could overcome the threat of fate and violence and settle down in dignity. Culture, a culture that has been tirelessly worked by legislators of all nations in the torrent of years, and thus is the highest culture that can be achieved by human beings, a culture that Moses in ancient times and Peter the Great in modern times have prepared: politics. Without this kind of culture, Russia in the 19th century was so rude and ironically lacking in culture. Just as Pasternak showed at the end of "Doctor Zhivago": After the tragic death of a noble Russian poet who hated war and politics, the mourners at the funeral were endless. The author narrated: No People love poetry and poets more than Russians. Excuse me, is there any irony in the world that is more bitter than this? None of the Russian literati in the 19th century did not hate political culture, but none were not talking about saving the nation. They were often moved to tears by their noble populist lies, thinking that they were deeply affectionate with the Russian nationals (if I I am not mistaken. In the history of ancient and modern Western literature, Russian literature in the 19th century is the most emotional, and the tears of boring aristocrats also flowed the most), but when all the people swarmed up, cut their necks. At that moment, they realized that they were wrong, and that they were wrong throughout the 19th century. Literati of no other ethnic group, like the populist Russian literati of the 19th century, thought they were speaking for the people, but in fact they were so far away from the people; it was not the words of sympathy and compassion of the literati that ultimately connected these two groups. It is the sickle and axe of the people's anger. - In addition to decorating their poor and rough souls "in the wilderness", the literati's culture is not only helpless in saving the country, but also unable to save themselves.
Russia in the 19th century was a cultural Russia: Russia gave culture a short-lived life, but culture did not save Russia in long suffering. The fate of Russian literati reminds us that culture can decorate a country in a prosperous age, and even intoxicate a group of poor and boring souls, but it cannot be used to save the country and the people, because it does not have the material required for this national political cause.
In the autumn of 1994, when I entered Peking University, the campus of Peking University was still filled with the last trace of the cultural enlightenment heat wave of the 1980s. It is said that it is the lingering vein of a long-standing tradition. That tradition is called "culture to save the country." In the midst of those heat waves, I have never understood a problem: if there is a voice of "saving the country", there must first be the appearance of "subjugation". However, compared with previous generations, China in the 1980s was gradually prospering from a hundred wastes, and the theory of saving the country Where do you start? Fortunately, the heat wave is fading away. Although the world is uncertain, all beings in the college seem to have their own lives. Reading is only an individual secular life, not a collective cause of salvation and enlightenment; there are others to achieve such great achievements. Other ways! As a literati, with a clear insight into the troubled world and a sense of the finiteness of one's own cultural career, cultivate one's own field and be a quiet and just citizen of the country. This is the enlightenment and even salvation of the literati. It certainly cannot save the "nation", but it certainly can save itself. —— "All of this was originally good."
Now, in 2006, another 12 years have passed, and the world is still turbulent. Some things have died, and some are still there, either life or death. Nakazuki’s destiny dictates, “All man’s toil is his toil under the sun. What good is it?” I felt that what I awakened from the dust was not the so-called living life that I used to be self-righteous. The culture, but the dead souls that should never be disturbed by living beings. The ancient destiny commands them to keep silent about the mortal world under the sun.
"No one remembers the past generations; future generations will not be remembered by later generations", because those who came out of the dust will return to the dust, and those who have returned to the dust should no longer see the sun. Helen, a beautiful Greek woman living in Troy, once foreseen that she would become the title of the song for later generations after her death, and our literati should be prepared not to be remembered by future generations.
--- That's it. There has never been a "culture of saving the country". Culture is culture, the decoration of the soul world, the silencer of the political world. It comes from the mortal, and it must die. Anyone who lives by writing should perceive the ordinaryness given by fate like Spinoza.

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Doctor Zhivago quotes

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    Pasha: Monsieur Komarovsky. I hope I don't offend you. Do people improve with age?

    Komarovski: They grow a little more tolerant.

    Pasha: Because they have more to tolerate in themselves. If people don't marry young, what do they bring to their marriage?

    Komarovski: A little experience.

  • Lara: You know, you often look at me as if you knew me.

    Zhivago: I have seen you before. Four years ago. Christmas Eve.

    Lara: Were you there? No wonder you look at me. Did you know Viktor Komarovsky?

    Zhivago: Yes I did. That young man who took you away...

    Lara: My husband.

    Zhivago: Lot of courage. He made the rest of us look very feeble. As a matter of fact, I thought you both did. Good man to shoot at.

    Lara: I'd give anything never to have met him.