On the beauty of tragedy

Perfection seems to be a kind of contour beauty, while tragic beauty is a kind of structural beauty, cell beauty and artistic conception beauty. I prefer tragedy to comedy. This is probably because comedy is full of perfection that people have been unable to surpass, while tragedy is more in line with mortal survival philosophy. Although it is heavy, it can open people's hearts. Perfection is a kind of vision of people, or something people pursue all their life. Because it is too aesthetic, it can only become one of people's ultimate goals or wishes. Tragedy, because it often tears up the false appearance for people to see. It is memorable because it has a bit of incomplete beauty. Perhaps as human beings, we are not willing to appreciate a kind of sadness in the face of the suffering we have borne, but are willing to find the perfection of a happy mood in fairy tales.

For example, the love between Sun Shaoping and Tian Xiaoxia in the novel ordinary world, or the love between China and South Korea crescent moon and Chu Yanchao in the funeral of Muslims. As the two novels that won the Mao Dun Literature Award together, as the two works I like very much. They may not be able to interpret the essence of Chinese culture, but the cultural phenomena they radiate exist forever and cannot be replaced. Sun Shaoping, an indomitable enterpriser, is ordinary but not mediocre. He is a coal worker, Tian Xiaoxia, a reporter. Their love is pure and noble. As characters in the novel, they have to serve a theme together. The meaning of "ordinary" is not a kind of aesthetic perfection, but an attitude in the face of suffering life. As characters at two levels, perhaps their love can break through the professional boundary and ignore the differences of social status. Such love may satisfy people's aesthetic taste, or it can be treated as a fairy tale drama without a heavy sense of life. The ordinary world of Tian Xiaoxia may be the place of death.

Tian Xiaoxia's death represents the death of this beautiful love. Because for life, such love lacks the soil to breed them. Only in the strangulation of the world can they reveal their characters' inner world and shape their characters' character. Imagine that if they get married, it can meet the readers' great reunion psychology of pursuing perfection. However, such works lack the massiness of ordinary life and have no memorable literary value. If they get married, two levels, two lifestyles, all these are not equal, can they be happy and will they be happy? This is a mortal book. It only belongs to life and must conform to the law of social development. Tian Xiaoxia died, leaving readers with a kind of regret and Sun Shaoping with incomparable pain. This tragic beauty is more unforgettable because of the incomplete beauty. This tragic beauty is not inferior to the hypothetical perfection. Because it is a real existence, it exists not only in works, but also in our lives. Perhaps because of the support of life, this novel can be in a bright position. Tian Xiaoxia died, but Sun Shaoping was not decadent. He used his best living state to give back to his beloved. Life has never stopped because of our misfortune. Living is the greatest comfort to the dead. Because life has to go on, and we still have a lot to do. In my opinion, the value of the novel "ordinary world" lies in using an indomitable spirit to go through the hardships of life, or it is using a tragic beauty to perfect civilian heroes.

In the novel Muslim funeral, we see another kind of tragic beauty in Han Xinyue and Chu Yanchao. As Han Xinyue, a Muslim, and as she was born to her father and aunt, perhaps when she was sensible and not sensible, this tragic beauty began to shape her. She grew up in the depression of home, but she is changing with her academic chips. Chu Yanchao, a teacher not a few years older than her, has a common ideal. Their love is a kind of romance filled in the campus, and their love is a hazy nature.

As a novel, as a Muslim "funeral", perhaps sadness and beauty are its elements. The characters are born to create tragic beauty and serve the theme of the works. Their love could have had a perfect ending, but it didn't. Perhaps the tragic beauty with clear primary and secondary embellishment is just to decrypt the mysterious veil of a nation, or to fulfill a theme. Han Xinyue left. It's not so much a disease as a family disease. It's on her. It was not her own illness that killed her, but the family illness that killed her. She is a product of contradiction, she is a product of right and wrong. Although she is not in the vortex of tragedy, this vortex is indirectly swallowing the happiness of her family. She left, walking in the history of the Hui people that has been revealed, in the past that no longer remembers right and wrong, and in the yearning of regret. Maybe the tragedy doesn't necessarily come from her, but she is the most beautiful one. Once dusty, she is the only one who reflects and reveals the root of all these main lines. She may have left before she could sing the glory of her life, with her national complex and the tragedy that this family did not belong to her. She met love, but she didn't have time to be together. Her tragedy lies not in the impermanence of love, but in the impermanence of life, but such a life belongs to her and does not belong to her. Only a long violin sound in front of the tomb was left in the hands of Chu Yanchao. In fact, this "Liang Zhu" is originally a Muslim funeral. Maybe it only belongs to Han Xinyue. "Muslim funeral" in my opinion, it is held for the most written Han crescent moon. Although she is only a Muslim, there are too many chapters related to her. Her tragic beauty is the weight to achieve the novel. Her tragic beauty also makes us see the origin of the Hui people.

The above is the tragic beauty I analyzed from two novels and four characters. It is the tragic beauty that makes these novels, because the tragedy makes this beauty deeper and more distant because of the participation of life. Maybe those are just the perfection to fill people's inner vanity, which seems to be so impetuous and groundless, because there is little peace and reluctance after reading!