In addition, Roman Roland also devoted his life to the unyielding struggle for human freedom, democracy and light. He actively participated in progressive political activities and expressed solidaritySpainThe people's anti fascist struggle and their attendance at the Paris Conference for the Defence of Peace have made certain contributions to the cause of human progress.
On January 29, 1866, he was born in Cramsy, Burgundy, France.From childhood, she developed a love for music under the influence of her mother who is familiar with music.In 1880, he settled in Paris.At the age of 15, she moved to Paris with her parents.In 1886, he was admitted after graduating from middle schoolParis Normal UniversityIn 1889, he graduated from the Paris Higher Normal School in France, and obtained the qualification for a lifelong position as a middle school teacher through the examinationTolstoysignal communication.From 1889 to 1891, he studied in a French school in Rome.Many times since thenItaly, BeirutBelgiumTravel with Holland and other places to collect creative materials.Later, he joined the French Archaeological School in Rome as a graduate student.After returning to ChinaUniversity of ParisTeach art history and engage in literary and artistic creation.
A journey of creation
Roman Roland
In 1897, Roman RolandParis MagazineHe published his first work Saint Louis and staged his first two tragedies, Art and Wolf.In 1899, he published The Victory of Reason.Roman Roland wrote seven plays in his early days, taking the heroic events in history as the theme, trying to use "revolutionary drama" to fight against the stale dramatic art.At the beginning of the 20th century, his creation entered a new stage. In 1901, Dandong was first published in the semimonthly.In 1902, he published July 14th.In 1903, Luo Lan wrote several biographies of celebrities consecutively in order to let the world "breathe the spirit of heroes" and build a monument for heroes with great spiritual strength:《Biography of Beethoven》(1903)《Michelangelo's biography》(1906) and《Tolstoy》(1911) collectively known as Biographies of Celebrities.At the same time, he published his masterpiece John Christophe.The novel won the Literature Prize of the French Academy in 1913, so Roman Roland is considered to be the most important contemporary writer in France.In 1904《Jean Christophe 》The first chapter of was published in Paris Semimonthly.In 1905, the first three chapters of John Christophe won the Ferdinand Prize and was named Happy Life.In 1905, Orange Dove Bookstore began to publish this work, competing with the Semi monthly.In 1892, he married Claudite, the daughter of Paris famous professor Breyer. As a daughter of a thousand girls and a socialite, he fell in love with a poor scholar, which was a popular story in the society at that time.In 1901, Luo Lan, a poor man, was unable to satisfy his wife, who was born as a rich lady, so they divorced.After his divorce, his creative activities changed direction, and he devoted himself to writing John Christophe.[1]
World War I broke out
In 1914, when World War I broke out, Roman Roland settled in Geneva. He made use of Switzerland's neutral environment to write anti war articles. His position was recognized by German writersThomas MannAnd others.But he did not give in.In 1914, he published "Beyond Disputes" in the Geneva Daily News.In 1915, he was awarded the Nobel Prize for Literature in recognition of "the noble ideals in his literary works and his sympathy and love for truth in depicting various types of characters". However, due to the opposition of the French government, the decision was delayed until November 15, 1916, when the Swedish Academy of Arts officially informed him of this decision.Roman Roland gave all the prizes to the International Red Cross and the French Refugee Organization.In 1917,Russian October RevolutionExplosion, Roman Roland andFrance，Barbusse He and other famous writers together opposed the intervention of European imperialist countries. He declared publicly: "I am not a Bolshevik, but I think the leader of the Bolsheviks is greatMarxismJacobin, they are engaged in a grand social experiment. "
1921
In 1917, Roman Roland gave up the prize money of the International Red Cross and other literary prizes.In 1918, he published Empedochle of Agrigent.In 1919, he published the novella "Gora Blegnon" written in 1913, in 1920, he published two anti war novels "Glambo" and "Pierre and Luce", and from 1922 to 1933, he published another representative work "Pleasant Soul".During this period, he also published seven volumes of important works on music theory and music history, The Great Creation Period of Beethoven (1928-1943), in addition to poetryLiterary criticism, diaries, memoirs and other works in various genres.From 1922 to 1937, he lived in Vilnev, Switzerland.In 1922, he published The Loser.In 1924, he published the biography of Gandhi.In 1934, Roman Roland remarried a Russian woman, Mary Kudacheva.[1]In June 1935, Roman RolandGolgiHe visited the Soviet Union at the invitation of.AndStalinMeet.In 1931, he published Farewell to the Past.In September 1937, Roman Roland bought a house near his hometown Cramsy Town. At the end of May 1938, he returned from Switzerland to settle down in his hometown.
old age
In 1940, when the German army occupied Paris, Roman Roland himself wasfascistClose surveillance was carried out. In August 1944, the Nazis retreated and Paris was liberated.He saw the light again.Roman Roland died on December 30, 1944.He was 78 years old.On January 2, 1945, a religious funeral was held in his hometown, Kramsi Town.
From 1898 to 1903, he took part in the "People's Drama" movement. His early works mainly included 8 plays, including "The Wolves" (1898), "Dandong" (1900), "July 14th" (1902), and so on;
biography
Biography of Beethoven (1903), Biography of Michelangelo (1906)《Tolstoy》(1911) 3 biographies of heroes;
novel
A voluminous work《John Christophe》。The novella "Gora Blegnon" (1919), and a series of reflections on his opposition to war and all violence.Thesis on fear that the collectivist system will jeopardize the individual's "spiritual independence" and other ideas.Later works include novels《Mother and Child》(Old translation of Pleasant Soul) Four books: Annette and Silevi (1922), Summer (1924);
other
Mother and Son (1927), The Woman Prophet (1933) and a series of essays, memoirs, papers, etc.Especially in 1931, he published Farewell to the Past.
Beethoven: From Hero to Enthusiasm · Music "Ghost" Berlioz is a book published by Life, Reading and New Knowledge Joint Bookstore in 1998. The author is Roman Roland.
The Biography of Michelangelo is a biography of Michelangelo completed by the famous French writer Roman Roland in 1906. The biography is divided into two parts, the first part is "Fight", the second part is "Abandonment", and the concluding word is "Death".The Biography of Michelangelo tells the story of Michelangelo's life experience.
Moscow Diary (Soviet Russian Reading Notes) is a book published by Guangxi Normal University Press. The author is Roman Roland, translated by Yuan Junsheng, and published on June 1, 2003.
The Biography of Tolstoy is written by Roman Roland, a French thinker and writer. It tells about Tolstoy's death at the age of one and a half and his father at the age of nine. In his youth, Tolstoy was not only troubled by his thoughts, but also despaired of his ugly appearance.
The Biography of Beethoven is a book written in 1903. The author calls this work a by-product of the long masterpiece John Christophe.It can be said that the Biography of Beethoven is the prelude to John Christophe.
Biographies of Celebrities (also known as Three Biographies of Giants) is a biographical work created by Roman Roland, a famous French critical realist writer at the end of the 19th century and the beginning of the 20th century.
Roman Roland's Reading Essays is a book published by Roman Roland (France) and published by Shanghai Sanlian Bookstore.
Beethoven: The Great Age of Creativity
Author nameRoman Roland
Work time1998-4
Editor's recommendation: This book is the first volume of the great book predicted by the author. It was published in 1928 and is also the most eye-catching volume.This volume focuses on Beethoven, a young man about 30 years old, whose works involve Hero, Passion, and the opera Leonarda. The author goes beyond the simple emotional worship when writing Beethoven's Biography in 1902, and uses more reason to analyze. He not only analyzes the artist, but also analyzes this
Memoirs of Roman Roland
Author nameRoman Roland
The Founder of Freedom: Rousseau
Author nameRoman Roland
In the book "The Founder of Freedom: Rousseau", the author Roman Roland combs Rousseau's life with a unique vision, excerpts Rousseau's papers, portrays Rousseau more comprehensively, and presents the image of a founder of liberalism for readers.
Under such historical conditions, the literature that occupies the dominant position in daily life in Paris is the kind of wanton, shameless, vulgar and soul selling literature.Roland really hated this kind of literature, but he was unable to fight against it effectively.He felt that only by taking his own bald pen as a weapon, creating some meaningful plays through revolutionary historical themes, and performing them in the "People's Theater" he envisioned, could the depressed French people be revitalized, and the great moral strength and lofty revolutionary spirit could be used to stimulate the revival of the French nation,This is the purpose of Roland's script writing.With this aim in mind, Roland wrote twelve plays in ten years.These scripts were not published at that time, and only a few of them were staged in small theaters.They failed.Ten years of youth have gone to waste.Why?The main reason was that the French literary world was dominated by some vulgar and low-grade works, and the audience was also accustomed to such works.Roland's plays not only have no pornography, but also are political, idealistic and heroic themes.This certainly cannot meet the requirements of the decadent and depressed French audience.[2]
Roman Roland
What ideal and spirit did Roland promote in his own script?Roland lived in an era in which the contradictions in the European capitalist world were very acute, the labor movement had risen, and the specter of communism had wandered over Europe.Because of the relationship between environment and education, Roland did not accept the communist world view.In this regard, Roland was behind his time.As an honest intellectual divorced from reality, his exploration of truth will inevitably lead to some super class content.Before the October Revolution in Russia, Roland's aspiration was basically the abstract concepts of humanitarianism, pacifism, freedom, justice, conscience, will, faith, etc., so Roland put forward the question of "the motherland or justice" in the "Wolf" written in 1898.Roland put forward another question in "The Victory of Reason" written in 1899: the motherland is still free, and the national interests are still the rational interests beyond the nation.In One Day, Roland wrote in 1902, he raised another question: the motherland is still a conscience, and should obey his own motherland or his own conscience.So on and so on.Roland thought he was always on the side of the losers.[2]
On May 3, 1898, Roland's play Aierte was put on the stage of a small theater.Half a month later, another of his plays, The Wolves, was staged in the theater.But this episode did not save the overall fate of Roland's script creation failure.The literary and art circles in Paris, which Roland later lashed out happily in "The Fair on the Square", have always been indifferent to his plays.He did not cater to the vulgar taste of the citizens, and wrote some fashionable subjects in order to get the opportunity of easy publication.He only wrote works that excited his inner spiritual world, said what he wanted to say, and did not sell his soul for fame and wealth.[2]
biography
Roland wrote a hero's biography in order to forge himself, and also to comfort the unknown brothers in distress. "Great minds hit them like mountain storms, and dark clouds wrapped around them, but there, the breath is more powerful than elsewhere. There is a purity in the air, which can remove the stains from the soul." The preface of his Biography of Beethoven is like a flag,"The air around was oppressive. Old Europe was suffocated in the stuffy and dirty atmosphere. There was no great utilitarianism that oppressed the thought - the world was weakening in the shrewd selfishness that was waiting to be sold. The world could hardly breathe. Let's open the window! Let's let the free air in. Let's breathe the hearts of heroes."[3]
In an era of extremely rich material life and relatively poor spiritual life, in a society where people shun the sublime, bid farewell to the sublime and are willing to be mediocre, the Biography of Celebrities may give people more embarrassment, because the lives of these giants are like a mirror, making people's meanness and insignificance manifest.People would rather praise their works than feel the greatness of their personality.At the end of the Biography of Michelangelo, Roman Roland said that a great soul is like a mountain.Later, they returned to Guangyuan, where they were full of the courage of daily fighting.This is really a golden word.
The Biographies of Celebrities is a very good proof of the ancient Chinese saying that those who have made great achievements in the past and present are not only talented but also indomitable.Beethoven's "finding shelter in sadness and forbearance", Michelangelo's "more suffering, more I like it",Tolstoy"I cry, I suffer, I just want the truth", all of which show that great life is an endless battle.The times are ever-changing and full of opportunities. People are eager for success, but they don't want to struggle. What they want is to become famous overnight.Impetuosity and eagerness for quick success may make people achieve short-lived achievements, but they must not be among the immortals.Celebrity Biography may sober people up.
Even if the script failed, Roland continued to write.However, he changed his creative form, mainly writing his Biographies of Celebrities. The so-called Biographies of Celebrities, literal translation is the biography of heroes.In Roland's mind, who is the real hero.Roland said, "When I say heroes, I don't mean those who win by their own ideas and power. When I say heroes, I mean those who have great souls." So the heroes Roland wants to celebrate are not Caesar or Napoleon, but Beethoven, Miguel Angelo and Tolstoy.What is the purpose of Roland's biography of celebrities?Roland said in the Biography of Beethoven: "The air around is suffocating. Old Europe groans in a heavy and sweaty atmosphere. Materialism, which lacks great achievements, suppresses thought, and the world is destroyed in egoism, which is haggling over every ounce and selling oneself to others. The world is dying. Open the window. Let fresh air come in. Breathe the spirit of heroes."That is to say, Roland will use the great spirit of heroes to transform the materialistic self-interest plan prevalent in Europe at that time, and use noble virtue to save Europe from degeneration.[2]
novel
Roman Roland is keen on expressing the direct experience of self spiritual exploration.The basic feature of his novels is to construct a plot framework based on the soul experience of the protagonist in his life experiences.As Luo Dagang, a famous Chinese scholar, said, "great heart" and "sincere art" are the spirit of principle that runs through Roman Roland's creative path.Although John Christophe and Mother and Son both displayed the broad picture of social history at that time, the central position was the emotional rhythm and ideological situation of the protagonists. The intricate social relations existed in the consciousness of the protagonists and became the driving force for their spiritual perfection,The background of social life always appears and disappears with the relaxation of the protagonist's inner activities.It is people's habit to call these two great novels "ideological novels".[4]
This creative personality of Roman Roland almost runs counter to the authoritative experience of Balzac, Dickens, Zola and others who pay attention to the external form of the objective world, such as Stendar, Tolstoy, Dostoevsky, etc.The artistic style of introversion also has obvious differences.His novel "does not take the story as the procedure but the emotion as the procedure" (Preface to John Christophe's Finalized Version), telling "the inner story of a sincere, long, sad and joyful life" (Preface to the First Edition of Mother and Son).Psychoanalysis and psychological description are no longer the secondary content depending on the specific environment of the characters, but the direct and strong expression in the primary and dominant position.Roman Roland's unique success made the once popular realism theory, which was paranoid about "imitating nature", into a dilemma.Once upon a time, the dispute between "imitating nature" and "expressing the mind" in the history of ancient Greek literary theory was deduced as a value standard that spans the ancient and modern times, either this or that. "Imitating nature" was respected as the basis of the progressive thought of materialism and the only method of realistic creation, and "expressing the mind" was dismissed as the symbol of the reactionary concept of metaphor and the common key of non realism.This seemingly serious theory not only confuses the boundaries of epistemology in philosophy and literary creation theory, but also fails to stand the test of practice, and even history will suffocate realism in narrow closing alleys.[4]
In the structural form of positive personality, Roman Roland's experience is also valuable."There are twenty different people in every person" (Roman Roland's Gora Blegnon). The positive characters in Roman and Roland's works are a combination of multiple personalities.In terms of quantity, Christophe's shortcomings are almost no less than his advantages. "I have exposed his shortcomings and virtues without hiding anything".He is reckless, clumsy, credulous, and some self righteous. He is eccentric and irritable. He is in a hurry when things happen. His thoughts are not flexible enough. His life is informal. He has had romantic relationships with many women.In Anita, there is a very strong female instinct. She is passionate and easy to fall in love with several men;She loved her son very much. She was happy and worried about his growth. She was deeply distressed by his wayward youth. After his participation in the adventure, she cried out of her dream more than once.[4]
This kind of positive character, which is described from many aspects and angles, is not only rich and vivid, but also suitable for the true form of life. "The two characteristics of truth and greatness are reconciled, gathered, combined... to create characters who are higher than but also live with" (Hugo's "On Shakespeare"), which makes the positive model have impressive artistic power.It is worth noting that there is a fundamental difference between Roman Roland, who adheres to the realistic position, and the contemporary modernist writers in the performance of multiple personalities.Modernist writers, with the idea of human agnosticism, blindly described the multiple personalities of the characters, which led to the disintegration of the image.Roman Roland grasped the exploration and enterprising spirit in the positive character mechanism of the image, allowing various factors in the character's inner world to change in various ways in the process of character operation, and the consistent spiritual force always pushed the character that has gone through hundreds of turns to a lofty realm.This performance of strictly following the principle of realism certainty creates a model of positive typical character structure.[4]
Roman Roland's original artistic achievements are manifold. In addition to his benevolent narration, he also pioneered the genre of Long River Novel (also known as River Novel) and the form of music novel, and introduced many expressions such as epic, tragedy, lyric poetry, philosophy novel, etc.His unique novel art not only led the trend and became a milestone in the history of realism, but also challenged the once popular way of realism research.In this way, realism is abstracted into some conceptual systems, and has evolved into a fixed and uniform evaluation standard.If it were a science, wouldn't Roman Roland be excluded from the category of realism? How absurd it would be!Starting from life rather than from ideas is an important artistic criterion for realistic writers.Roman Roland "dedicated his work to the free souls of all countries who suffer, struggle and win" (The Message of John Christophe), and said: "Whether Christophe, Gora and Aned are reasonable or not, they exist anyway. Life itself is a big reason" (Preface to the First Edition of Mother and Son).It is an indisputable fact that his artistic conception and typical modeling come entirely from long-term observation, thinking, experience and accumulation of life.[4]
Throughout his life, he fought unyielding for human freedom, democracy and light.The characteristics of his novels are often summarized as "writing novels with music".
Musical perspective
Roman Roland talks about music from the point of view of creation or creator. What he really cares about is not the external form of music works, not the psychological effect of music on the audience, but the creativity that promotes the coming of music in the hearts of musicians. What he cares about is the process of the birth of music from nothingness.Roman Roland's musician biographies and music novels are better than other music novels because he never entangles in various romantic legends, but shows the secrets of music creation in his works.John Christophe tells a story that takes place in the soul of a musician.John Christophe draws inspiration from music from every experience, drinks the wine of music from innumerable joys and pains, and gradually turns his whole life into a grand symphony.Just as Husserl's "transcendental self" leads directly to God, John Christophe, as the most humane person and the embodiment of creation, is also shaped as the god of the earth.In the case of John Christophe, Roman Roland completed the phenomenological reduction of the highest meaning of music.[5]
When trying to describe music "objectively" with words, the difficulties multiply.This description is actually an attempt to use language to transform, translate and explain music.However, any translation or interpretation is limited.Roman Roland once compared language and music:[5]
Beethoven often tried to translate his inner, 'deep feelings' into music, which could not be explained clearly in words, but it was as sure as words - in fact, more sure;Because words are abstract things, they can sum up many experiences and contain many different meanings.Compared with speaking, the expressive power and accuracy of music are hundreds of times greater than words.Therefore, it is not only the right of music, but also the obligation of music to express special emotions and themes.If you don't take this responsibility, the result will not be music - it is nothing.[5]
According to the above words, the world of music just exists outside the abstract language: after language ends, music begins.Indeed, as the crystallization of experience, language is always good at saying general things, while direct experience is always special, specific, fresh, unique and unrepeatable;The latter is the field of art, especially music.If ordinary, everyday language can express what music expresses and translate music faithfully and equivalently, then music may no longer exist.Language must have taken the place of music.Because music is relatively only a tool for a few experts to master, while language is spoken by everyone, and language is obviously more convenient for extensive exchange of experience.To say the least, even if the language conveys the performance effect of music to some extent, this communication must not be perfect. So why use this poor substitute?The water that cannot flow is just a pool of stagnant water.[5]
Phenomenology is a kind of knowledge about essence. After being restored through phenomenology in general sense, we should make an essential description of the field reserved by suspension.In fact, there is almost no obvious dividing line between these two steps.Because "phenomenon" or "music" is not a pile of changeable and disordered sensory complexes or unformed and unstructured materials, the sensory materials are unified as an object because of the giving of meaning.Therefore, Roman Roland's "feeling" and Husserl's "intuition" are essential in themselves;In this sense and intuition, the object itself is constructed or created.Perceptual intuition and essential intuition are unified here.Of course, essence restoration belongs to a higher level after all, and it is realized by means of the so-called "change".For example, the mechanism of "change" seems to allow many high-level pianists to play the same music, and different performances make the essence of unchanged appear in a series.Through "the free change of imagination", we can grasp the invariance in change and the essence of intuitive objects;Through essence reduction, we can find a phenomenon series with structure, level and meaning, an infinite possible system.Roland even has a literary description similar to this essential system:[5]
Suddenly, voices came: some were heavy powder, some were sharp, some were loud, some were roaring.One by one, the children listened to the old Fengtian and listened to them decline;They have the bell ringing in the field, and the slaves are swaying, as the wind blows in and out;Listen carefully, there are different sounds far away, like feather insects flying Shun;They seem to call you there and lead you to a distant place... The farther they go, the farther they go, until the mysterious corner, they settle in and sink down... This is the endSuck!noThey are still whispering... they are still patting their wings... how strange it is!.[5]
The big bell of St. Martin's Church began to sound: first, the highest sound, lonely like a mournful bird asking questions to the sky;Then the second sound, three degrees lower than the previous one, was combined with Gao Qing's wailing;Then the foot and the low pentameter sound seem to be the first two green.The three notes touch each other.Under the clockwork, it was a choir in a huge hive.The air and people's hearts are persuaded.Christophe held his breath and thought to himself: How pitiful the music of musicians is compared with the sea of music where thousands of creatures roar together;This annihilating beast is a free world of sound, which can never be compared to a world where human beings are clever, labeled and tidied up.He was lost in the endless sound[5]
When John Christophe had an insight into the sound world, he could create unlimited sound effects in his music according to the sound world.Of course, Roewe Roland uses literary techniques here. According to phenomenology, the essential system of the sound world does not depend on the empirical facts such as "church bells". It has already existed invisibly and invisibly while musicians compose music.[5]
Character ideology
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Signature of Roman Roland
The ideological basis of Roman Roland's humanitarianism is first of all the enlightenment in the 18th centuryUtopiaIdeological trend, especially the poetic democratic ideal of the pantheist Rousseau, plus the Declaration of Human Rights and Citizenship issued in 1789.In 1793, the left-wing Mountain Party of the bourgeoisie, which represents the petty bourgeoisie and the consciousness of the laborious masses, collapsed. After the right-wing party Kelundan took power, the slogan of freedom, equality and fraternity actually became a dead letter.Roman Roland unconsciously reflected the class consciousness of petty bourgeois intellectuals, and naively regarded the declaration of freedom, equality and fraternity as an eternal truth.Since his youth, he has cherished the revolutionary ideal of restoring the rising bourgeoisie, adhered to the direction of freedom, equality and fraternity, and hoped to translate this slogan into practical action.He believes that this is the key issue for inspiring and rejuvenating the French nation.After middle age, Roland basically still has this ideal and ardent desire. However, he no longer wants to "revitalize" just like he did in his youth. What he wants to "revitalize" is not limited to France and Europe, but the whole world and mankind.[6]
In different historical periods and under different social conditions, humanism has different contents and characteristics.Moreover, even in the same historical period, in the same class, in different classes, and in different individuals, the performance of humanitarianism can not help but be more or less the same.Roman Roland's bourgeois humanitarianism is also profoundly different from the hypocritical humanitarianism of bourgeois bureaucrats, politicians, businessmen, capitalists, as well as writers and journalists working for imperialism at his same time, which cannot be confused. Although their humanitarianism falls into the category of idealism and subjectivism in terms of ideological system.[6]
Roman Roland's humanitarianism has another feature: religious feelings.The three key points of Roman Roland's thought are religious consciousness, the pursuit of truth and the spirit of fraternity. In short, they are "God", "truth" and "love".These three aspects are related to each other, but there are also primary and secondary.The most important and fundamental factor, he thought, was "God", that is, "God".The "Holy Light" of God is everywhere.All things in the universe are nothing but gods.The spirit of God is reflected in the good heart of individuals, and there is a word "love". Roman Roland believes in all these things.As an artist, Roman Roland never mentioned a word of "beauty" alone. He believed that beauty was the crystallization of truth and kindness.Beauty is the reflection of love;Truth is the incarnation of God. Literature and art works should take "truth" as the soul and "love" as the flesh and blood, so that they can have a soul stirring spiritual appeal.Art is not pure formal beauty, nor pure skill.In Roman Roland's memoir "Inner Journey", there is a passage to play his theory of love: "For me, who was born a musician, my lifelong effort is to form a loud and comprehensive tune with all the opposite factors of life, as well as their laws. There are two principles: (1) truth... be sincere to myself;Apart from what I think is sincere, I don't say a word more than I should say... (2) Love, human love;Love... common joy, common pain... the law of compassion.I put this surging water into the same riverbed: the confluence of love and truth. "[6]
Roman Roland attaches great importance to individual, freedom and personal consciousness.Because he believes that personal consciousness is the manifestation of gods in the personal heart.The lofty goal of personal consciousness is the endless pursuit of "love" and "truth".This is the reason why Roland's humanitarianism and individualism are closely combined.Just as his humanitarianism cannot be compared with the ruling forces of the bourgeoisie, that is, the hypocritical and insidious humanitarianism of the upper bourgeoisie, his individualism cannot be compared with the mercenary individualism of the philistine.His individualistic aim is not personal enjoyment, whether material or spiritual enjoyment.He opposes aestheticism in literature and art and believes that it is a luxury for spiritual enjoyment.Roman Roland's individualism emphasizes the realization of human universal love by relying on individual strength, and his individualism is part of his utopian idea of world harmony.[6]
In fact, the "human rights" and "humanitarianism" falsely publicized by the bourgeois ruling group have already gone bankrupt, which is undeniable and undeniable.The bloody massacre of the revolutionary soldiers of the Paris Commune and the revolutionary people of Paris in 1871 by the Versailles regime is the iron evidence of the complete bankruptcy of the bourgeoisie's verbal humanitarianism.The brutal oppression and slaughter of colonial people by western colonialists and imperialists is also the iron evidence of the verbal humanitarian bankruptcy of the western bourgeois ruling group.Why do some people express great antipathy to the assertion of "bourgeois humanitarian bankruptcy"?Must we be humble apologists for bourgeois humanitarianism?However, it is not correct to confuse the hypocritical and insidious humanitarianism of the bourgeois ruling group with Roman Roland's bookish and naive humanitarian belief of universal love.It is indeed a metaphysical extension and a wrong argument to take Roman Roland's bookish humanitarian remarks as an example of the strategic hypocritical humanitarian bankruptcy of the upper class of the western bourgeoisie.We must correct this erroneous connection and extension, but we must not agree with the assertion that the western bourgeoisie, as one of the means of class struggle, is hypocritical and humanitarian bankrupt.Because denying this assertion is equal to denying the objective reality, and historical facts cannot be denied, nor can they be denied.[6]
In a word, the views on Roman Roland's humanitarianism can be summarized as follows: (1) From the ideological system, Roman Roland's idealistic and subjective humanitarian ideals and beliefs belong to the category of bourgeois humanitarianism;（2） According to the analysis of specific facts, Roman Roland's bourgeois humanitarianism is essentially different from the hypocritical humanitarianism spoken by the bourgeois ruling group. The former's starting point is to pursue truth and practice universal love, while the latter's purpose is to protect personal interests and class interests;（3） The relationship between Roman Roland's humanitarianism and the ruling forces of the bourgeoisie is clearly manifested as a centrifugal force rather than a centripetal force: (4) Roman Roland's humanitarianism has played a consistent role in promoting his personal long and arduous progress, in other words, it is one of the positive factors for his continuous ideological progress.Of course, this class limitation of humanitarianism also played a negative role in the process of his ideological progress to a certain extent, but the positive role of his humanitarianism in the process of his ideological progress was primary and decisive, while the negative role of his humanitarianism was secondary and non decisive.[6]
Character evaluation
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In Zweig's mind, Roman Roland occupies a lofty position.Yesterday's World wrote that when they met for the first time, they said: "I felt a human and moral advantage in his room; a freedom of heart without pride, which is self-evident for a strong person. I saw at a glance that he would represent the conscience of Europe at a critical moment."[7]Zweig also commented that "the integration of the trinity of poetry, music and science and the trinity of law, morality and Italian culture has been perfectly reflected in Roland" and "he has become the spokesman of the spirit of the times and the conscience of the world".[8]
Lunacharski praised Roland as "the pope of pacifism".[8]
He won the Nobel Prize for Literature in 1915. The Swedish Academy of Literature commented that "the high level of idealism in literary creation and the compassion and authenticity shown in describing different types".[9]
Roman Roland runs through humanitarian thoughts all his life.In the early stage, he was deeply influenced by Tolstoy, who advocated the abstract "love" of all mankind, the "heroic spirit" to fight against social decay, cultural degradation, and the promotion of art to serve ordinary people.[10]
In the 1930s, Roman Roland actively participated in progressive political activities. He served as the chairman of the International Anti Fascist Committee, supported the Spanish people in their anti Fascist struggle, and attended the Paris Conference for the Defense of Peace, making certain contributions to the cause of human progress.[11]He clearly opposed the two world wars, the persecution of Dimitrov by Nazi Germany, appealed to the Soviet Union to stop the exile of intellectuals, and even opposed the suppression of left-wing writers by the Kuomintang government. He played an irreplaceable role in safeguarding justice.[8]
Roman Roland's works also played a guiding role. Fu Lei's youth experience and the influence of Romantic literature had a great impact on his mood. In his own words later, "the nerves also weakened, and I don't know how to spend this life." During the study tour, he went to Switzerland, Belgium, Italy, but "none of them could calm the manic mood." However,Fu Lei's emotion was soon transferred by Roman Roland.Shortly after staying in France, Fu Lei happened to read a small book "Beethoven" written by Roman Roland. "After reading it, he couldn't help crying. As if being illuminated by divine light, he suddenly regained his vitality, and since then he miraculously regained his strength. This is a major event in the life of the remaining spirit." It can be seen that the production of this small book is the result of the influence of Beethoven's spirit on the writer.Roman Roland's situation at that time was quite similar to that of Fu Lei at that time. Therefore, Fu Lei was like a "divine light", so moved that he "couldn't help crying".[12]
Roman Roland is a favorite writer of Wang Yuanhua.The two articles written by Wang Yuanhua in his youth, reading John Christophe, had unique understanding and profound insights, and were later included in the book Towards Truth, the author's literary comment collection, which was published in 1952.Roman Roland and John Christophe are indeed Wang Yuanhua's spiritual treasures.According to Professor Hu Xiaoming, Gao Zu of Wang Yuanhua, people were still invited to read the book until the year before Mr. Wang died.He also wrote the latest experience about this book after his wife died.Mr. Xiangpu Gao, a Japanese scholar, is well aware of Wang Yuanhua. He said that Mr. Wang's understanding of Luo Lan has never changed.This is a long-term adherence to human life in Wang Yuanhua.[13]
