Reality involves the manner in which events occur in a practical scenario. Fiction incorporates perception of occurrences without considering their ability to take place in the manner explained. Imperatively, these explanations can merit constituting the broader aspect of opinions. In literature world, the determination of an explanation as being truth or fiction depends on its comparison with the happenings in the real world scenarios. In a given piece, the involvement of fiction focuses on the purpose of emphasis as well as the depiction of extremes within the boundaries of possibilities in each situation. The reality is contrary to the fictional aspect as it defines only the actual occurrence and its absolute possibility.
The story of stone is distinct in its application of fiction to elaborate on the events and the transpiring instances of the characters. Nonetheless, reality has been exhibited in the punctuation of the diverse situations together with their relationship with the human capability and the society demands. The determination of truth and fiction relies on the individual’s perception before remitting the information for the analysis. Therefore, a credible question on the manner in which one is to understand – to form a concept – the connection between fiction and the normally referred to as ‘real situation’ or ‘reality’, and in precise whether, and in what aspect, fiction can be deemed as being a source of truth or else information concerning real world. The analytic aesthetics will be fundamental in determining the relatedness exhibited between fiction and reality. Throughout this exercise, there will be arguments and implications for the global aestheticians, and eventually there will be an addition of a brief comment concerning the outlined explanations.
The family names jest on this contrast between impression and reality, up to and incorporating a real-life double for the main character. Rebuses of the chief characters in his circle consider and predict, but then again all the parts of the puzzle eventually shape up. Despite the fact that largely trimmed of Chinese explanation accreted in the past, the appreciators offer guidance in terms of supplements, cast listings together with pedigrees, in company with introductions setting historical scenarios. However, the novel transcends being merely a gateway into an unaccustomed tradition; it entails ample sensations even for the most exhausted appreciators.
The two main characters highlight essential roles with regards to their gender. Bao-yu has a responsibility for operating as a man in the various perspectives of his involvement. The man is responsible for his hereditary role in the dynasty now that his parents are yet to leave the throne under his management. Bao-yu has to understand all the stipulations of the position and its merits. The social role in the relationship is significant amongst the functions of Bao-yu and has to ensure desirable love to his lover Dai-yu. However, confusions are looming and it is upon Bao-yu to exhibit a resolute nature to make a perfect decision.
On a different scope, Dai-yu as a woman is responsible for ensuring love and respect to her lover, Bao-yu. She has to make sure that their relationship leads to the desired destination as intended in the initial agreement, marriage. Nonetheless, the situation turns out to be contrary to the anticipations. Bao-chai comes between the relationship of Bao-yu and Dai-yu causing more confusion to the two. The author expects to gauge the faith of the two through the introduction of a ‘threat’ in their relationship. Again, this is simply meant to determine the perfection of the roles between the two lovers. In real situation, such a scenario of confusion always leads to the exhibitions of extremities of capabilities in the performance of roles between lovers. The situation can lead to separation or the maintenance of the love in its initial form without trouble. Therefore, the union made in heaven is distinct from the illusory earthly made union. A liberal thinking may pose that the two were in unity due to the circumstance.
It is not surprising that a thinker can be confident to propose that fiction is normally a source of truth concerning the real situation and of which are posed by the intellectuals that ‘given fictional pieces entail or imply overall thematic impressions regarding the world that the appreciator, as a component gratitude of the work, has to evaluate as either true or false.’ Conversely, there are those who repudiate that fictional pieces can depict truth regarding the real world or who has faith that if it happens so, the best we can anticipate fiction without doubt provides truths with regards to the actuality. The fiction permits the reader to obtain non propositional empathic principles and awareness that then turn out to be available to employ in real life circumstances. fiction never the truth or falsity of declarations about human life then again themes that are in some extent critical to human apprehension and that can hence be accepted as of more or less human attention.
Reading fiction for the light it sheds
Yes, I believe one of the main purposes for reading fiction is because of its remarkable capability of shedding the light on the desired reality. Nonetheless, this situation is comparable amongst different individuals. This implies that the deduction done by the individuals define the varying abilities. Considering the story of stone, there is evident extent of fiction that is carefully blended with the occurrences and the expectations of the readers and the requirements of the dynasty and the entire society. The stone was rejected without taking into consideration its significance. The stone later proves to be essential and it has to be brought from its initial place in heaven and accorded essence and the mortality needed. At this point, it would be imperative to critique the situation and ask a number of questions in order to attain critical explanations. For instance, why is the stone brought to earth and moralized. Secondly, there is importance in the quest to determine the appreciation in the quality of the stone that makes it considerable by the people who abandoned it initially.
In the cases of literature, there is need for effective communication amongst the audience as well as the readers as in this case of the novel. The effectual communication for the long stories demands a comprehensive chronology that is precise and easy to understand. The fiction assists in understanding the abstract experiences of human beings. Every character contributes to a brotherhood of mortality. And since we share comparable understandings, authors of different pieces, cultures, and even global observations can link with us at a philosophical extent. The noticeable fictional applications highlight normal human experience in manners that demonstrate indefinable to dissimilar types of writing that is, fictional literature might prove occasionally to be accurate in describing the situation.
Fiction enhances individual appreciation for material human practice in its endeavors to shed light on the fact set for determination. The involvement of a deeper fiction in this story provides profound appreciation of the common experiences of humanity such as a beauty. Consider the watering of the stones by the Bao-yu and bringing them to life, a situation that makes Dai-yu adore him throughout her life to show her gratitude. In this case, the watering by dew leads to life and fostering a compulsion that enhances the value of the husband to be, Bao-yu. This also performs as the fundamental element of the story, and it is through this incident that the entire storyline develops.
The expansion of the scope of experiences rely on the fiction and through this, it shed light. Reading avails vicarious observations to the readers and assists in expanding their thoughts. In this life, human beings are mortal and only have a single chance to live. The aggression for experiences receives acute deterrence from the feeling of fear of the outcome and that might lead to loss of life hence, leading to caution. In order to attain the imaginable experiences for self-satisfaction, fictions are fundamental. Therefore, the widest scope of experiences is attainable.
A glimpse on an issue is attainable through fiction by the beauty and creativeness to be appreciated. The fictitious literature can avail any extent of creativity as well as beauty since it relies on limitless imaginations of situations. It is through fiction that God can be described, and beauty appreciated in vivid terms. Through this, the beauty can be embraced, and the ignorant can be informed concerning the abstract beauty.
Reality comes after fiction. There is a preparatory role of fiction in every story in which it is applied. The fictions in the story are sound and assist in understanding the role of the story to the community and amongst the audience. Fictions are meant for aesthetic reasons especially with reference to the information and emphasis of the extreme scenarios. When a kingdom or dynasty develops, there are expectations of prosperity. Only a few people may seem to speculate the failure of such a dynasty. The most probable reason for the imaginations of the failure is the belief of the impossibility of failure due to the manner in which the management of the dynasty poses its might to the people. Therefore, notions develop amongst the public before coining the idea that given kingdom is paramount. In The story of Stone, the fiction brings about the love between the two cousins Bao-yu and Dai-yu. According to the author, the love between these two individuals is strong for the extent that there is intense sacrifice and adoration. Bao-yu brought Dai-yu to life and introduced her to the preferable mortality as seen amongst the orbits. With the regard of the relationship, there is a remarkable bond, and this creates an impression that marriage is the most possible thing to result between the lovers. Bao-yu starts to realize Bao-chai’s beauty. The introduction of a third person, Bao-chai equally presents jeopardy into the relationship. Dai-yu realizes that her lover Bao-yu is in a great love with Bao-chai. The essence of fiction in this instance is to depict the occurrences that are possible irrespective of their positions in a relationship. The author creates a platform through fiction to introduce dilemma. In the case of Bao-yu, he frees himself from this illusive life at the end of the story, but he leaves a pregnant wife together with a family in failure that it should be his responsibility to trail back the position of ruling.
Choices pose critical challenge amongst individuals in the real world. The illusory choices are meant for the physical observations in the world. In this sense, an individual is compelled to abide by the social stipulations. This implies that one does not act within his capacity of autonomy. The characters in the Story of Stone realize that the reality is paramount, and the compulsions they pose tend to pose intense force that they are not capable of overcoming. Consider the freedom in the minds of people, the mental provisions will ever be free to express themselves in individuals and influence decisions
There is an essence in understanding the manner in which Bao-yu makes a choice with which he and we all are challenged. A deceptive reality of agony, sadness, yearning, distress, delights, and love against the ‘true reality of triviality to this imaginable world that reduces him heavenly, but correspondingly, in the end, a stone (Cao & David 298). Bao-yu is strong-minded to relinquish not only his sensory self though his active kindness and consideration so that he might be unconstrained from his everlasting preoccupation with anguish. The tragic dilemma postured in the performance of Bao-yu’s divine emergent is confidently this: is insensibility the cost of one’s freedom? One might ask whether it is healthier to suffer and commiserate, knowing an individual’s ultimate impotence to reinstate the human sequence, or whether it is better to search for personal salvation with an understanding that in attaining this, someone qualifies to become a sheer stone, resistant to the grievances of suffering around an individual.
In the analytical view, the falling from heaven depicted in this story implies the failure in the transition of ideas between different stages of development. The Garden of Eden in The Story of Stone has a number of differences as well as similarities with the biblical Garden of Eden. The discussion on the contrast between the gardens can translate into a critical argument that can eventually result into a vivid understanding of the author’s postulations. The two gardens are similar in the number of physical occupants. In the biblical Garden of Eden, there were Adam and Eve as the occupants. The occupants were subject to a number of rules that determined their operations within their habitat. Then, the serpent intervened causing deceit and confusion in the entire garden. This in turn led to the breakage of relationship between the occupants and their God. In The Story of Stone, the two lovers maintain in their relationship and exhibit their appreciation to one another. There is the introduction of a third person into a relationship, Bao-chai who than cause confusion in Bai-yu and Dai-yu’s relationship. The partners realize that their separation is inevitable, and they have to assume their initial positions as stones. Unity is breached in this case. This is regardless of the intervening community of the participants. However, the gardens are different in the sense that the biblical garden was occupied by the two individuals who might have been ignorant whilst in the garden in the story, the characters are fully aware of their environment and deception does not cause their separation. They separate due to their inability to curb their real situations. The intervention of a third party in the story is passive while the biblical serpent was active.
Cao, Xueqin, and David, Hawkes. The Story of the Stone: A Chinese Novel by Cao Xueqin in Five Volumes. London, England: Penguin Books, 1980. Internet resource.