On The Creative Characteristics Of Fei Ming

As far as we know, two conspicuous features, unique originalities and strong personalities, are possessed by Fei Ming’s works. Different from other studies on Fei Ming, the present dissertation tries to concern itself with a fairly distinct reflection on the issues of intellectual resources, ideological and aesthetic characteristics contained in Fei Ming’s creations, in the hope of generally acquiring a profound understanding of Fei Ming and his ideologies. The main content of this dissertation is to be listed as follows.In the first part, a general survey on development skeleton of Fei Ming’s ideologies is conducted through narration, aiming to provide a preliminary introduction and description into intellectual resources shared by Fei Ming’s works. In the early stage, Fei focused his attention on classics before Qin Dynasty, such as "Analects of Confucius","Lao Zi","Zhuang Zi"; in the middle age, his emphasis was on "Mencius","Annotations of the Four Confucian Classics" and "The Ikawa School Case"; in the later stage, theories constructed by the Insight Sect aroused his attention. The transition of his research interests shows us not only the process of his role transformation from "litterateur" to "thinker", but also his ideological change from Confucian doctrines (Confucius before Qin Dynasty) to the Chen-Zhu Confucian school which represents the tendency of further influences by theories of the Insight Self. From the perspectives of intellectual resources, the characters in Fei’s novels, especially the ones in masterpieces during his maturity, are not visible in real life but representatives extracted from different varieties of intellectual resources parameterized by Chinese traditional culture, because ideological background is deeply imprinted not only through their every action and word but also through their every twinkle and smile. For example, Qin Zi in "Bridge" represents the core spirit of "Benevolence" and "Courtesy" worshiped by confucianists before Qin Dynasty; Xi Zhu unconsciously represents the ideal of pure naturalism worshiped by the Taoists; Xiaolin’s image is self-consciously characterized by Taoism at his early period, and later developed into a kind of representation of views worshiped by the Insight Self based on inheritances from his early period, but his understandings and choices about Buddhism thought still always remains concentrated on aesthetic angles; the book "A Biography of Mr Mu-xuyou" is actually a melting pot merged into different varieties of intellectual resources, but the thought framework of Mr Mu-xuyou is basically consistent with that of Xiao Lin in "Bridge" created at the same period. The difference between them is actually the difference between rectitude language and humorous enigmatic language, the former was adopted by Xiao Lin, while the latter was adopted by Mr Mu-xuyou. In "What Happened after Mr Mu-xuyou took a plane", Mr Mu-xuyou accepted "the theory of good nature" proposed by Mencius, daintily followed monasticism based on moral conduct proposed by Chen-Zhu Confucian school, which shows a deep further influence by the Insight Self. But like Xiao Lin, his persistence in the temporal world forced him not to become a real monk.In the second part, the grasp of ideological characteristics of Fei Ming’s creations is of primary concern. Conclusively, the core image in Fei’s works embodies his perceptions of the world and the life. For example, attitudes towards "relativity" between life and death can be realized through the image of "shadow"; the self can be realized through the image of "mirror" and "tomb"; human memory, the "integrity" of artistic realm and life can be realized through the image of "leaves"; wisdom and brilliance can be realized through the image of "lamp". All these mentioned show Fei’s deep concern for human life, conception of self, memory, wisdom and other central issues, and these works are products of his thoughtful considerations. In addition, his new poems and novels display clear logical routes, his new poems are logical in nature, techniques of echo between pre and post are often adopted in his novels in order to indicate real intentions. A deep comprehension of insights into life reflected by Fei’s core images is very necessary to us because it can help us better understand his ellipsis and techniques of "isolation"(deliberately increase distances from daily life). Only through this can we find out the truth-Fei Ming’s works are not obscure at all. Besides, love issues are also among the core problems discussed in Fei Ming’s works, they are mostly discussed from the angles of the differences between Chinese and Westerners on literature, but some are even discussed from the angles of personality defects prevailing among Chinese. Under his theoretical framework of love, the main structure formed by Qinzi and Xizhu and the pair structure formed by an old sister(Dog) and another elder sister(Fish) coexist side by side. This reflects that Fei Ming has examined the problem of love from both layers of conceptual world and empirical world and has reached his own conclusion. That is, a storm of jealousy is bound to production of tragedies. He pessimistically attributed women’s destiny to "nunnery" and "graveyard", and constructively proposed that "women themselves should guard their own interior harbors by themselves", which aroused the issue of women’s personality and independence. So Fei’s works on love issues are characterized by extrication of the self, life and death from love.In the third part, aesthetic characteristics of Fei’s creations are of primary consideration. Heavily influenced by "rules and regulations in nature and human world" proposed by Zhou-zuoren, Fei made use of it as a benchmark for the transformation of Chinese traditional intellectual resources. At the same time, he advocated the realm of fantasy in order to surpass the utility world and step into aesthetic world. In his creation of "women’s world", non-utility, braveness and strong personalities are protruded in fantastic women; his "immortal world" is full of varied human feelings. Fei’s novels can be classified into the category of ideology and culture, partly because the confocal of his creations is conceptual world which is far beyond real world. The literariness of such kind of novels is ensured through the reliance on writer’s unique thinking models, which is of great enlightening significance to modern Chinese literature. Besides, Fei’s technique of using literal meanings of allusions in large quantity makes the usage of allusions develop into its modern forms. From Fei’s perspectives, using allusions can be called "excessive dew of purity". In other words, Chinese literature is characterized by using allusions. This conclusion was reached through his speculations on Chinese literature and thinking patterns in comparison with western literature.These analyses above finally lead us to reach a conclusion, that is, Fei Ming’s works belong to the categories which deliberately surpass the boundaries of real world. These works reflects his independent mode of thinking on some practical issues, such as China and the West, Tradition and Modernism, literature and politics, etc. Such kinds of works possess their unique values, no matter on ideology or on aesthetics. In the meantime, due to his independence of thinking, Fei Ming’s works have greatly enlightenment significance to the further development of Chinese literature, no matter whether it is on inheritance from tradition and learning the west, or on the formation of the new construct melted from both two kinds of intellectual resources.