The Research Of Chuang Tzu Fables

Chuang tzu is the classic of a book filled with profound thought, and it isavailable for research in a wide range of investments. Traditional Chuang tzu researchmainly concentrated in its appearance, interpretation and textual research, etc. Somescholars also interpret Chuang tzu from myths, legends, literature and art aesthetics,comparative study and so on different angles. Although the research on Chuang tzufables has many achievements, the concept definition、 the structure of thedistribution、the ideographic type、and the characteristics of the using image in viewof Chuang tzu fables have not formed complete and systematic conclusion. This paperhas four chapters, it interprets Chuang tzu fables synthetically and perfectly,byexploring Chuang tzu fables’ concept、allegory thought resources, the ideographictype and the characteristics of the using image.The content of the first chapter is the discrimination in the concept of Chuangtzu fables.In this section, I will trace the earliest origin of the word "fable", which hasspecific meaning appear in the " Chuang tzu San Yan". The original meaning of"Fable" is a kind of rhetoric way which “takes advantage of outside to discusss", andit’s through the lips of others to express their views. But in pre-Qin thinkers fables,"fable" is an expressive unit, and it is the fable story that we tell today, which isthrough the interpretation and fictional techniques to express their views. In thissection about Chuang tzu fables’ load mode, Chuang tzu fables distribution structureand specific morphology are generalized and discussed.The content of the second chapter is the thought resources about Chuang tzufables. Creation of Chuang tzu fables has the inseparable relation with the chaotichistorical environment and the various cultural background.Meanwhile it alsodepends on chuang tzu’s feelings of reality, and his own suffering consciousness、hisworship of the ancient times.The content of the third chapter is the ideographic type of Chuang tzu fables.Although Chuang tzu fables has be fragmented along each of the book, but it is not cluttered and arsy-varsy. This subject mainly divides the idelgraphic type of Chuangtzu fables into three parts, which can be summarized as compared to not, don’t hurtyourself, unfettered. The first type is mainly through comparing two kinds of little andbig different object in morphology and mentality, to discuss that comparingunrealistically and envy are not desirable. This kind of fable takes Kunpeng and Tiaoand doves, about and turtle, such as the river and the sea fable as typicalrepresentative. The second type is emphasized on the protection of nature of all things.First, it expounds the harmfulness of nature caused by the damage things from thenegative point of view in this paper. And then, it describes the useless in the supremestate from the positive perspective. This kind of fable takes a horse, scattered wood,deformities, such as chaos fable as the typical representative. The third type is thesublimation of the front, the essence of Chuang tzu fables thoughts, namely, how toreach a state of forgetting everything, and how to reach a free and unfettered state,how can let mind free to roam in the universe to get the real freedom. This kind offable takes a series of image of the man of god, virtual things, skillful craftsman as atypical representative.The content of the fourth chapter is the characteristics of the using image.Chuang tzu fables’ content may seem pretty twisted thither, surreal absurdity, mainlybecause the description of the fable object is fantastic. The object is not all Chuangtzu ’s creation, but a certain prototype. The characteristics of the using image is that ithas residues of the medium attribute of the using object, and also exists thedevelopment and the transcendence of the concept attributes. The first is that themedium attribute of the original object continues to be used, but makes an artisticexaggeration, the second is the transformation and transcendence made by rising tothe concept.