由先验范型到经验模式——贾宝玉为什么又做“太虚幻境梦”

From a Transcendental Paradigm to an Empirical Mode:Why Jia Baoyu had a“Taixu Dream of Fantasy”Again

《红楼梦》两次写到了贾宝玉的“太虚幻境梦”。曹雪芹是在用两个“太虚幻境梦”表现贾宝玉的生命体验和心理内容。第一次“太虚幻境梦”是以梦的方式对集体无意识原型的表现,是贾宝玉的“原型之梦”;第二次“太虚幻境梦”是贾宝玉深深体验到的命运悲剧原型的投射。由第一次“太虚幻境梦”到第二次“太虚幻境梦”,这中间经历了贾宝玉心理原型的“榫卯”与现实的“榫头”的逐渐契合,使贾宝玉的心理原型由先验的范型转变成了经验的模式,使潜意识转变成了意识,使梦幻形式转变成了真实的现实。两次“太虚幻境梦”使贾宝玉产生了痛彻骨髓的悲凉感,最终导致他出家并重返大荒山,从而使《红楼梦》的悲剧主题表现得更为深邃凝重。

Jia Baoyu’s“Taixu dream of fantasy”was referred twice in A Dream of the Red Mansions,Cao Xueqin is using two“Taixu dream of fantasy”to express Jia Baoyu’s life experience and psychological content.The first“Taixu dream of fantasy”is the expression of the collective unconscious archetype in the way of dreams,which is Jia Baoyu’s“Dream of Prototype”;the second“Taixu dream of fantasy”is a tragedy of fate that Jia Baoyu deeply experienced the projection of the prototype.From the first“Taixu dream of fantasy”to the second“Taixu dream of fantasy”,Jia Baoyu’s psychological prototype and the reality gradually fit together,making Jia Baoyu’s psychological prototype change from a transcendental paradigm to an empirical mode,the subconscious is transformed into consciousness,and the dream form is transformed into a real reality.The two“Taixu dream of fantasy”made Jia Baoyu feel painful and sad,and the two“Taixu dream of fantasy”eventually led him to become a monk and return to the barren mountain to change into a stone,thus making the tragedy theme of A Dream of the Red Mansions more profound and solemn.