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Lermontov's "Heroes of Our Time": Bi Qiaolin, the Patient of "Love's Inability"
Lermontov's "Heroes of Our Time" is a short portrayal of the second "superfluous man" in Russian 19th century literature - Bi Qiaolin, whose sensitive psychological analysis and indulgent behavior add to the spiritual and cultural connotations of the "superfluous man". His sensitive and careful psychological profiling and indulgent behavior add to the spiritual and cultural connotations of the "redundant man". In the domestic research on "Contemporary Heroes", it mainly focuses on the following aspects: first, from the perspective of the image of "redundant man", either combing the social reality and spiritual source of support for the emergence of such an image, or sorting out the genealogy of the image of "redundant man" in Russian literature, or combing the "redundant man" image in Russian literature, or combing the "redundant man" image of the "redundant man" image in Russian literature. From the perspective of the image of "redundant man", we can compare the images of "redundant man" in Chinese and Russian literature and study their similarities and differences; secondly, from the perspective of the image of secondary characters in the book, we can study the image of the author, the image of women, and the image of men other than Bi Qiaolin, and explore the relationship of comparison and mutual growth between them and the image of Bi Qiaolin; thirdly, from the perspective of different theoretical resources, or from the perspective of the existentialist philosophy. Third, from different theoretical resources, we study the textual and social significance of Bi Qiaolin's image from the perspective of existentialist philosophy, examine the narrative level and inner meaning of the text from the perspective of semiotics, investigate the "voice" and narrative technique of the text from the perspective of narratology, compare the differences and similarities of the translations and their influence on the psychological flow of the characters, and present the characters in a phenomenological way. The researchers have also looked into the social and cultural identity of the characters' personalities from the perspective of phenomenology. In the past, researchers have injected high research enthusiasm into Contemporary Heroes, paying attention to different aspects of the text from different research perspectives and different theoretical resources, but most of them focus on the external study of the text and the connection between theoretical resources and the text, while paying insufficient attention to the internal narrative techniques and the setting of the characters' images. This paper is intended to take "Bi Qiaolin's love" as a perspective, to re-combine the structural relationship between his entanglement with women in the text, and to outline the spiritual image of Bi Qiaolin's "powerless love".

The Contemporary Heroes is a short book, but it portrays a series of vivid and lifelike characters centered on Bi Qiaolin. In the unfolding of this group of characters, the driving mechanism behind the narrative is the emotional entanglements between Bi Qiaolin and four women, either long or short, deep or shallow. Almost every story in the text centers on Bi Qiaolin's interactions with one woman, while the other characters are depicted as the setting and backdrop for the story. One of the most valuable aspects of the text is that in the process of this "incidental description", the secondary characters are portrayed in a detailed manner with distinctive and highly recognizable characters. The author's success in characterization is due to the intentional misordering of the story setting, which plays an important role.

The text is divided into five stories: "Bella", "Maxim Maximech", "Taman", "Miss Merry Duke", "The Fatalist". From the perspective of storytelling strategy, the second story is a current chronological story, the last three is the use of Bi Qiaolin's own "diary style" to show that it is the Caucasus mountain stories in the past, while the first story appears to be a current chronological story, but the core of the text is still the continuation of the past chronological order. Therefore, from this we can see that the author is intentionally plotting and setting up the wrong order, the key is why he arranges the order of the stories in such a way? As a matter of fact, the author has already stated this point in the beginning of the book. He thinks that some readers "generally do not care about the moral preaching and moral attack" of the preface, but want to see "the admonition behind the fable" in order to understand the story. However, the author did the opposite, not only putting the "preface" in the middle of the book in the form of "diary style" so that readers have to read it, but also ending the story without the "admonition". --The flexibility of the "diary" form is fully utilized. Such an approach, which does not "please" the reader, brings about an excellent reading of the text: the author "moves" one story ("Bella") forward by breaking it up, and then lets the current chronological sequence of events, "I" and "I", take place in the middle, so that the reader is obliged to read it, and the story ends without "admonition" - a full use of the flexibility of the "diary" form. The author "moves forward" one story ("Bella") by breaking it up, and then allows the story of my encounter with Maxim and Bicholin to serve as a bridge between it and the next three stories of the past chronology, which not only satisfies the reader's curiosity and desire to peek into the story, but also makes the story "have a beginning but not an end" - or, in other words, it makes the text "have a beginning but not an end".

Thus, the "end" does not acquire the general process of linear progression of the story, such as beginning, development, climax, and conclusion, but rather, as part of the "decapitation" of the "fetus", the text acquires a "beginning" and "end". ", so that the text has gained some kind of alternative euphemistic unspeakable "tragic effect". Thus, from the author's "hasty" attitude towards the end of the text, he does not regard the end as the center of gravity of what he wants to express, or a vehicle for preaching admonition, but rather the process of portraying the character of Bi Qiaolin as the center of the oracle - the important thing is that it is not the end of the character, but the psychology of the character that is important. not the character's ending, but the character's psychological changes and the process of experience. Most of Bi Qiaolin's experiences are emotional entanglements with women, and he seems to appear in people's eyes as a "master of love", but in fact, we do not find him as a "winner" through his interactions with Bella, Vera, Miss Merry and the smuggled women. victor" over gender relations, but rather the frustration of his life through his interactions with women. In the past, many researchers focused on the social environment and practical reasons for the emergence of Bi Qiaolin's character, but neglected the fact that the text shows the characteristics of the "redundant man" precisely by highlighting his emotional experience. To summarize, Contemporary Heroes makes use of the intentional narrative strategy of "text collage" to make Bi Qiaolin's story present different narrative dimensions, splitting the "story of the past" into two and bringing the "story of reality" into the "story of the past" through the "story of reality". The story of Bi Qiaolin is divided into two, and through the "real story", the "story of the past" is glued together again to form a complete text; it is under this narrative strategy that "Bi Qiaolin's emotional entanglement" becomes the central structural event of the text, and under the central event, Bi Qiaolin's image becomes the central structural event of the text, and under the central event, Bi Qiaolin is the central structural event of the text. It is under this narrative strategy that "Bi Qiaolin's emotional entanglement" becomes the central structural event of the text, and under this central event, Bi Qiaolin's image is presented in the perspective of multiple narrators.

The text shows several emotional experiences of Bi Qiaolin: first, he meets the love of his life in the metropolis, Vera, a married woman in the upper class, and after a painful entanglement with her, he runs away from her because he can't give Vera any real spiritual and living security, leaving Vera with endless emotional pain; and then, in the book "Taman", he describes his curiosity to find out more about her, and then he describes his desire to be with her, but he doesn't know what to say. He describes his curiosity as leading him into the lives of the smugglers, where he becomes obsessed with a smuggler's girl and follows her on a boat without knowing how to use the water, nearly drowning her, but destroying the relatively balanced and harmonious order of the smugglers' lives; and in Miss Merry Duke, he manages to make a successful advances on Merry, teasing her to the fullest, but he is not in love with Merry, and after rejecting her love, goes away again; and finally, there is the beginning of the book, the beginning of the book, the beginning of the book, the beginning of the book, the beginning of the book, the beginning of the book, the beginning of the book, the beginning of the book, the beginning of the book, the beginning of the book. Finally, in the opening story "Bella", he was once discouraged after enjoying the flavor of young women in the metropolis, but accidentally met Bella, the daughter of a Caucasian indigenous lord, who kidnapped Bella to his own place through despicable means, and through a long period of probation, made Bella finally accept his courtship, but he gave up on her and ultimately incurred the death of Bella at the hands of the strongman. There are two points of particular interest in the compilation of Bi Qiaolin's emotional experiences: on the one hand, his interactions with women are not "mutually beneficial", but rather "lose-lose" - all the women he interacts with not only do not benefit from him but also from him. All the women with whom he interacted not only did not taste the sweetness of love, and paid a terrible price for it, while at the same time he was not a "two-handed free" shirker, but in every emotional experience to see the gray color of life, feel the frustration and disillusionment of life; on the other hand, in his pursuit of each woman On the other hand, in every woman he pursues, there is another male present, and it is difficult to distinguish in the text whether he is really on the offensive because he feels a budding love, or because his desire for conquest prevails in the process of competition.

Bi Qiaolin is a true "process experiencer," and the moments of pleasure in his four long and short emotional experiences are when he pursues these women, especially when he fights with the men around them (the "potential rivals"), and when he captures their hearts. Once he has captured the hearts of these women (with the exception of the smuggler), he finds it all "tasteless" and not at all the result he was after, but he doesn't know what result he was after - and this may be the reason why The Contemporary Hero has no ending. "There's no end in sight.

Of the four relationships, the one with Vera is sketched in as a "prequel" to the story, and when it is presented in the text, it is the time when he meets up with the emotionally traumatized Vera again. The two rekindled their old feelings, but afraid of the eyes and ears of Vera's husband, they could only create the opportunity to meet in the capacity of the guests of Miss Merry Duke. In the process, it is because of the existence of Vera's husband, so that it can not be free and smooth cheating, so that their meeting time has become limited and precious, but let them once again into the whirlpool of emotions can not be extricated. They know that nothing has changed from the past, and that it is impossible for them to have a perfect outcome, but the presence of a "third party" makes them obscure the limits of the realities of the relationship and mothball it in a ritualized and romanticized "coronation" of Vera's husband. "In this dimension, Vera's husband becomes an indispensable element in their affections. At the time of his simultaneous relationship with Miss Duchess Merry, the young soldier-born Grushnitsky is passionately courting Merry. Judging from the objective description of Bicholin's appearance at their first meeting, Bicholin has no interest in Miss Merry, but it is in the midst of Grushnitsky's fawning and provocations that Bicholin begins to deliberately attract Merry's attention. Although the subsequent reunion with Vera made the interaction with Miss Merry appear functional; however, it cannot be ignored that Bi Qiaolin's interaction with Merry was not without pleasure, and much of this pleasure was based on frustrating Grushnitsky and on his own powerful desire for conquest-so that Grushnitsky then acts as a catalyst for this acquaintance between Bicholing and Merry. At the meeting with Bella, Bicholin is indeed impressed by Bella's pure lamb's eyes, but his action comes after the emergence of a tough and fierce competitor, Kazbicki, so he takes advantage of the shortcomings of Bella's brother's addiction to horses, steals Kazbicki's horse in exchange for Bella, and goes to great lengths to make Bella fall in love with him. However, this doesn't last long, and he soon grows tired of Bella, at which point Kazbiki's reappearance causes him to turn his attention back to Bella slightly, and it is Bella's eventual stabbing to death by Kazbiki that revives his initial feelings for Bella - every change in his feelings for Bella is tied to Kazbiki's appearance, and Bella only comes to the forefront against Kazbiki's backdrop. Bella's worthiness is only emphasized by Kazbicki's presence. The same happens with the smuggler: in Taman, he accidentally discovers a white girl among the smugglers. The first thing that catches his attention about this girl is her singing voice, in which she sings about the sight of sails on the sea, and more importantly, in which she expresses her love for the man on the sailing ship. Afterwards, Bi Qiaolin began to observe the girl carefully, and found the "radiance" and "soul-stirring" in her eyes, and then the incident happened that he followed the girl to the sea boat by mistake and almost died in the belly of a fish. In the description of these women, the author unexpectedly describes the face of this smuggler with great care: the beauty of this woman is a dynamic beauty, her beauty in action, in the rhythm of singing and body, in her adventures with the Tartars at night - if there is no such a fierce and brave Tartar, I'm afraid that the beauty of this girl is also discounted, I'm afraid that the girl's beauty is also discounted, I'm afraid that the girl's beauty is also discounted. Without such a fierce and brave Tartar, I am afraid that the beauty of this young girl is also discounted, and I am afraid that Bi Qiaolin may not be able to look favorably on such a country maiden.

From the above, we can see that Bi Qiaolin's "discovery of beauty" and "seizure of beauty" for women are all in the case of "third party" participation, and he personally lacks basic respect for women. In fact, he lacks basic respect for women, as he himself said, "I despise women in order not to love them, otherwise life would become a ridiculous melodrama. He has a nihilistic attitude towards love with women, just like his attitude towards the world; instead of falling in love with women, he falls in love with the process of conquering women, and the thrill of defeating the "male third party" in the process of conquering women - this desire for conquest and sense of fulfillment is what makes him a man. -The conquest and the sense of achievement can make his increasingly numb heart to harvest a little bit of life nourishment.

In this competition with women, as mentioned earlier, Bi Qiaolin is not a winner, he is driven by the desire to conquer and sense of achievement in the "hunt for women" again and again to bring disaster to women, at the same time, but also to himself to bring more and more serious frustration and disillusionment in life. Why is this so? Because Bi Qiaolin is not a complete bad guy, on the contrary, he comes from an aristocratic family, well educated, handsome, witty and funny, he is not intentionally to hurt these lovely women, he just do not know how to love them. In other words, in the interaction with women, Bi Qiaolin is also on a journey of "emotional education" about the relationship between men and women. In this journey, his attempts at love and his ability to love show an inverse relationship, which is the source of his frustration and disillusionment.

The sequence of women he meets is: Vera - the smuggler - the Duchess of Merry - Vera again - Bella. -Bella. Early affair with Vera has been slightly "before" the story can not be examined, can only start from the smuggler to explore his "emotional education" path. The chapter of "Taman" is not long, but the description of the image of the smuggler woman is quite intensive and magnificent, suddenly like a fish beauty, suddenly like a water demon, suddenly like a bewitching woman, extremely seductive color - intuitively "sexual temptation" and "sexual charm" impacted Bi Qiaoqiao, who is the first person in the world to have a sexual relationship with a woman. Sexual temptation" and "sexual charm" impacted Bi Qiaolin's young male psychology and physiology. Bi Qiaolin's action in response to this stimulus was to want to possess her without regard to anything else, and to take her for himself like a horse. However, when all this happens, he feels remorseful, "I feel bad inside. Why did fate cast me into the quiet life of a regular band of smugglers?" -- this is the primary stage of his love affair: a transient infatuation triggered by sexual attraction quickly awakened by reality. After arriving in the city of the Five Peaks, he meets Vera again, "the only woman he can't cheat on", and they quickly and inexorably rekindle their old feelings. In Vera, there is not only a kind of morbid beauty, but also a kind of experience and continuity of emotional possibilities. Bi Qiaolin has brought her nothing but pain, but she is still unable to hold herself back and relive the old dream with Bi Qiaolin again, just as Bi Qiaolin confesses, "Oh, how I love this kind of feeling! Is this the return of youth to me with its storms that cleanse the heart? Or is this only a farewell glimpse of her, the last gift left as a memento? ...... "The relationship between the two is based on no utilitarianism and no future reality, creating a romanticized vision of "flesh and spirit" - the culmination of their love. This is the climax of their love, which successfully obscures the limits of reality, shrouds the love in romanticized imagination, and plunges them into disillusionment and powerlessness long after the love is gone. In his simultaneous relationship with Miss Merry, Bi Qiaolin devotes his whole body and mind to Vera, and all he has to offer Merry is the ritualized "hero's rescue" and programmed flirtation, but unfortunately, the young girl is soon disturbed by Bi Qiaolin, but it is at this point that Bi Qiaolin rejects her love and ruthlessly shatters the poor girl's last hope - the poor girl's last hope of love. The poor girl's last hope is shattered - this is a concentrated display of his flirting skills in the "love" phase, which is neither sexual nor loving, and is an irresponsible approach to the social scene: showing a woman his superiority, taking possession of a young heart, and then abandoning it to his own devices. the young heart and then abandoning it to its fate. His relationship with Bella is a kind of "flashback" to his whole ideal of love: he impresses the mountain girl with all kinds of attentiveness, loves her beauty as much as her simplicity, and hopes to salvage his own devastated heart with the purity and beauty of her love, but he is soon disappointed, "The simplicity of a wild girl is as ignorant as the simplicity of a noblewoman's". Ignorance of the wild girl is as tiresome as the show of the noblewoman"-this is the final stage of his love and disillusionment, and he tries to save himself with a love that has the natural union of flesh and spirit, yet again he fails, and he finds himself even more pitiful than the women, for there is nothing more that can make his mind He is a man of the world, and he is a man of the world, and he is a man of the world.

From this, Bi Qiaolin's emotional trajectory is clearly presented: simple "sexual attraction" - romanticized "spiritual union" - "no sex, no love" - "no love" - "no love" - "no sex, no love". "Lust is nothing else but the first stage in the development of the mind, and belongs to the youthful mind." In this youthful stage of love, which should be simple, Bi Qiaolin's situation shows a certain asynchrony - a reliance on reality. And after the initial erotic phase, he looks forward to a love that is sentimental, where emotional trembling is consistent with physical union, and thus embarks on an indelible love affair with Vera. At this point he abandons the distractions of reality and reaches the peak of his love in a romanticized imagination, thinking that his mind will achieve eternal "peace" in this "emotional education". "But this calmness is often the sign of a great and latent power: thought and feeling, once rich and deep, do not allow for wild impulses." But Bj?rling falls far short of this dimension of calm, and his apparent "calm" is essentially a kind of vain "indifference" which, combined with his omnipresent impulses and caprices and based on his inability to deal with the relationship between romance and reality, becomes a destructive force: destroying others as well as others. It becomes a destructive force that destroys others as well as itself - Merry and Bella are vivid illustrations of this. To summarize, as Bi Qiaolin becomes more experienced, older, and more "emotionally educated," his ability to love continues to regress - the "ability to love" and the "attempt to love" are not the same as the "attempt to love. The "ability to love" and the "attempt to love" show an inverse relationship: the stronger his desire to love, the more his ability to love diminishes, and in the end, he completely loses himself in the relationship between reality and romance. As a result, the frustration and disillusionment of life came to him, and he finally embarked on the path of "fatalism", and became a complete "love powerless" patient.