• <tr id="yyy80"></tr>
  • <sup id="yyy80"></sup>
  • <tfoot id="yyy80"><noscript id="yyy80"></noscript></tfoot>
  • 99热精品在线国产_美女午夜性视频免费_国产精品国产高清国产av_av欧美777_自拍偷自拍亚洲精品老妇_亚洲熟女精品中文字幕_www日本黄色视频网_国产精品野战在线观看 ?

    Mirror of Enigma and Mirror of Magic: Textual Evidence for Setting the Ground of East-West Comparative Literature*

    2019-11-12 04:45:06ZHANGLongxiCityUniversityofHongKong

    ZHANG Longxi City University of Hong Kong

    張隆溪 香港城市大學(xué)

    Abstract: Given the huge linguistic,cultural,historical,and social differences between the East and the West,what constitutes the ground for comparison poses a serious challenge to any comparative work.For Chinese-Western comparative studies,it is very important not just to make theoretical claims,but to establish the validity of comparison through a display of concrete examples as textual evidence to reveal the comparability of different literary traditions.Without textual evidence,comparisons may sound empty and unconvincing,and jumping from abstract concepts to jargon-laden obscurantism only reduces the value of comparative literature and damage its respectability.Through discussion of the comparability of a concrete image—that of the mirror—this essay will show the importance of textual evidence as methodologically meaningful for East-West comparative studies.

    Keywords: Chinese-Western comparative literature;textual evidence;concrete images;mirror;methodology

    For Chinese-Western comparative studies,it is very important not just to have theoretical arguments,but also to establish comparability through a display of concrete examples as textual evidence to reveal the affinities of different literary traditions.In this regard,Qian Zhongshu’s works have set up an excellent model for us to emulate.For example,his essay“Our Sweetest Songs”points out a general phenomenon in literary creation as well as a critical concept with universal applicability,namely,that“pain generates poetry better than happiness,and that fine poetry is mainly the expression and outburst of displeasure,anxieties,and misfortunes.”From the great historian Sima Qian’s (ca.145-ca.85 BCE)

    Letter to Ren An

    and Zhong Rong’s (ca.465-518) Preface to his

    Ranking of Poetry

    ,Mr.Qian cites a wealth of Chinese works as textual evidence to support this claim,of which perhaps the most impressive is a phrase by Liu Xie (ca.465-522) when he commented on the Han dynasty writer Feng Yan in the chapter on“Talents”in the

    Literary Mind and the Carving of Dragons

    ,where Liu Xie says:“Jingtong (i.e.,Feng Yan) had a refined taste in literary expressions,but he met with many obstacles and frustrations at a time of general prosperity;his

    Articulating Intent

    and

    Author

    s Preface

    are just like pearls congealed in a sick oyster.”The“Talents”

    chapter provides evaluations on numerous writers since antiquity and cannot discuss them in any detail,so the comment on Feng Yan is just a single sentence;and yet the phrase,“l(fā)ike pearls congealed in a sick oyster,”is worthy of much deeper exploration.The phrase has its origin in an earlier book,

    Huainanzi

    ,in which we read:“The pearl as bright as the moon is the result of a disease of the oyster,though to us it is precious;the claw of a tiger and the tusk of an elephant are precious for the animals,though to us they are dangerous.”This is meant to destabilize our usual positions so that we may realize the relativity of things from different perspectives.In the original text of the

    Huainanzi

    ,the pearl is mentioned in tandem with the tiger’s claw and the elephant’s tusk and therefore does not stand out,and in the

    Literary Mind and the Carving of Dragons

    ,it is put in one sentence and does not seem to have drawn much attention in literary criticism.As Qian Zhongshu points out,however,Liu Xie singled out the image of the pearl and used it in his commentary on Feng Yan,stating that this writer had created outstanding works of literature because of his“many obstacles and frustrations at a time of general prosperity,”in a way“just like pearls congealed in a sick oyster.”In so doing,Liu Xie metaphorically used the pearl produced by a sick oyster in analogy to a poet producing fine literary works because of his pain and suffering,all in the same spirit of the idea that“poetry can give vent to grievances.”O(jiān)nce the analogy is made clear,we would have to pay special attention to Liu Xie’s words.Not only did Liu Xie have this wonderful phrase,“l(fā)ike pearls congealed in a sick oyster,”but another writer,Liu Zhou (514-565) from the Northern dynasty,also says in the“Agitations”chapter of the

    Book of Master Liu

    that“trees under stress produce burls as beautifully patterned as brocades,oysters in illness contain pearls as bright as the moon,birds startled can fly as high as the blue clouds,and arrows thwarted can shoot over snow-capped mountains—all these turn to be precious because of their disease,and move high and energetic owing to prevention.”Similarly,the great poet Su Shi (1037-1101) also says in his

    Letter to Li Duanshu

    :“Trees produce burls,stones show cloudy veins,rhinoceros horns may have a thread of white running through,all these become pleasing to humans,but are all the result of their diseases.”Qian Zhongshu remarks that though Su Shi did not use the metaphor of“oysters in illness containing pearls,”his phrase“trees produce burls”means exactly the same as“trees under stress produce burls.”Then Mr.Qian continues to cite textual examples of a similar nature drawn from Western literary traditions:When Western writers talk about literature,their use of metaphors is remarkably coincidental with that of the Chinese.Franz Grillparzer remarks that poetry is like a pearl,the product of a sick and silent shell-fish (

    die Perle,das Erzeugnis des kranken stillen Muscheltieres

    );Flaubert observes that a pearl is formed in the illness of the oyster (

    la perle est une maladie de l

    hu?tre

    ),while the style of a writer flows out of a deeper sorrow (

    l

    écoulement d

    une douleur plus profonde

    ).Heine wonders whether poetry is to man what the pearl is to the poor oyster,the stuff of illness that makes it suffer (

    wie die Perle,die Krankheitsstoff,woran das arme Austertier leidet

    ).A.E.Housman maintains that poetry is a sort of“secretion;whether a natural secretion,like the turpentine in the fir,or a morbid secretion,like the pearl in the oyster.”Apparently such a metaphor is found everywhere and used by all writers independently of one another,because it expresses precisely the idea that“poetry gives vent to grievances,”and that it is composed“to release their resentment.”

    By showing numerous concrete examples as textual evidence from literatures East and West,ancient and modern,Qian Zhongshu leads us to the realization that the image of“pearls congealed in a sick oyster”appears not only in Chinese commentaries on poetry,but can also be found in very different traditions of English,French,and German poetry,thus guiding us to take a fresh look at Liu Xie’s words with deeper understanding,while giving a most persuasive exposition of the idea that“poetry can give vent to one’s grievances.”In comparative literary studies,texts lay the grounds for comparison and give the best support to theoretical arguments,which would otherwise seem abstract and empty,and it is citation of concrete examples that makes arguments most persuasive and effective.

    In the rest of this essay,I shall discuss the image of the mirror and its meanings in Eastern and Western literatures and cultures with concrete examples drawn from various texts.In his famous book,

    The Mirror and the Lamp

    ,M.H.Abrams made the argument that Western literary criticism took a significant turn in the age of romanticism in the nineteenth century,i.e.,a turn from the idea of art as imitation of nature to that of art as the original creation of the artist’s mind.He quoted the words of W.B.Yeats on the title page of his book:“It must go further still: that soul must become /its own betrayer,its own deliverer,the one /activity,the mirror turn lamp.”Here the mirror and the lamp are symbols of the soul or the mind,of which the mirror with reflections of all things is understood as a metaphor of the activity of the mind as imitation,or the concept of

    mimesis

    from Plato to the eighteenth century,while the lamp is a metaphor of the mind as the source of light that sends out rays to shine upon all things,thus representing the expressive theory of romanticism.Mirror turning to lamp can thus indicate the shift from mimesis to expression in Western literary criticism.The Chinese had long used such metaphors of the mirror and the lamp.The Song dynasty critic Fan Wen used such metaphors to speak of poetry:“These are descriptive words the ancients used,as the mirror takes in shapes and the lamp produces shadows.”The“mirror taking in shapes”means to draw up images of things according to their figures,i.e.,in imitation of nature;and“the lamp producing shadows”means to let out one’s intent in response to the stimulation of the world and express one’s feelings.Thus the mirror and the lamp serve as metaphors of imitation and expression.In the story about Huineng,the sixth patriarch of Chan Buddhism,as told in the

    Platform Sutra

    ,the mirror image plays a crucial role in putting emphasis on the inner mind rather than external things.In this well-known story,Shenxiu,the head monk who was supposed to become the next patriarch,held a candle in the middle of the night and wrote a

    gatha

    on the temple wall,which read:The body is a

    bodhi

    tree,

    The mind a propped-up mirror,

    Which should always be wiped

    And kept dustless and clear.

    On a higher level of enlightened understanding,however,Huineng composed another

    gatha

    that articulates the idea that it is the heart or the mind itself that realizes the nature of Buddha without relying on anything external.Huineng’s

    gatha

    reads:The

    bodhi

    itself has no tree,

    The mirror is no propper.

    There’s nothing to begin with,

    How can dust ever come near?

    Huineng makes clear that Buddha nature is pure nothingness and emptiness,and it does not need to be wiped clean like a mirror.Though the lamp is not mentioned here,the transmission of Buddhist teachings is called transmission of the lamp,for teaching disciples is expressed metaphorically as the lighting of lamps.For example,the

    Vimalakīrti

    Nirde?a

    Sūtra

    compares teaching to“neverending lamps,like one lamp lighting hundreds and thousands of other lamps to enlighten all those in the dark without ever coming to an end through time.”The metaphorical use here of the mirror and the lamp represents precisely the turning away from external things to contemplation focused on the inner mind,which may give us some sense of how great an impact Chan Buddhism has had on traditional art and literature in China.The mirror,however,never passively imitates nature,but may have different functions.The mirror—the flat surface of glass or a metal object we look at and in which we see ourselves—has always fascinated human beings and stimulated human imagination.For Jorge Luis Borges,a writer with an unusual sensibility and unpredictable flight of imagination,mirrors are excellent symbols for the problems of seeing and understanding,both physical and psychological,corporeal and intellectual——i.e.,problems that point to the enigma of our very being.Human actions,says Borges,“represent a secret drama determined and premeditated by God,”and human life down to its most tenuous details“has an incalculable,symbolical value.”The mirror serves as a means through which to see things clearly and to understand God’s“secret drama,”but it is not a perfect tool as it may distort as much as it reveals.Thus St.Paul’s words,“

    Videmus nunc per speculum in aenigmate: tunc autem facie ad faciem

    ”(“For now we see through a glass,darkly;but then face to face.”I Corinthians,13:12),provides an authoritative dictum that human understanding is always limited,at least in this life.The French writer Léon Bloy was inspired by these words to reflect on the various problems in the human world,and he came to the conclusion that“No man knows who he is,”which Borges considers to be a most effective articulation of man’s“intimate ignorance.”In a poem he wrote in his later years,Borges used mirrors to reiterate the idea of man’s insignificance and humility:

    God has created nighttime,which he arms

    With dreams,and mirrors,to make clear

    To man he is a reflection and a mere

    Vanity.Therefore these alarms.

    And yet,Borges often describes human dignity and worthiness precisely through their perpetual heroic——if ultimately futile——effort to probe God’s secret,and in so doing,the mirror and the library with its classification systems are his favorite metaphors to symbolize the human will to impose order onto the multidimensional world,whose complexities and intricacies seem to lie beyond human control and human understanding.The connection between the mirror and the library or books has a long tradition reaching back to the popular medieval metaphor of the“book of nature,”which Ernst Robert Curtius discussed by citing many examples,the first of which is from Alan of Lille (PL,CCX,579 A):“

    Omnis mundi creatura

    /

    Quasi liber et pictura

    /

    Nobis est et speculum

    ”(“All creation in the world /Like a book and a picture /Is to us and a mirror”).Here the connection of

    liber

    and

    speculum

    forms a textual background for Borges’s imagination of the complex structure of“The Library of Babel,”which begins with this statement:“The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries.”Having described the impressive architecture of the library with all the rows of books as depositories of human knowledge,the familiar image appears again:“In the hallway there is a mirror which faithfully duplicates all appearances,”says Borges.“Men usually infer from this mirror that the Library is not infinite (if it really were,why this illusory duplication?);I prefer to dream that its polished surfaces represent and promise the infinite.”The infinite possibilities and complexities of knowledge and the classification of books in good order in the numerous galleries of the library form a tension and even an opposition,in which human intelligence perpetually tries to systematize the universe with only limited success,always falling short of the goal of complete understanding.Notice that the library here is not your average library,not even the legendary library of ancient Alexandria,but the Library of Babel,the notorious biblical symbol of confusion and failure of ambitious human effort.The library certainly puts all available knowledge in good order,and if the universe as library is complicated or confusing like a labyrinth (which happens to be yet another of Borges’s favorite metaphors),“it is a labyrinth devised by men,a labyrinth destined to be deciphered by men.”The mirror facing the infinite galleries in the library takes in all that is stored in the numerous books,and turns all into images in a reverse order.Mirrors duplicate what they reflect,but the duplication is not the real thing.This is what Plato held against painters or poets,seeing them as simple imitators.“If you should choose to take a mirror and carry it about everywhere,”says Plato,you will produce images of all the things in the world,but images that are only“the appearances of them,but not the reality and the truth.”Here in his quarrel with poetry and the prestige of Homer,Plato the philosopher was obviously biased to deny the symbolic function of mirrors or representations;but poets are quite different,for they have no qualms about holding,“as ’twere,the mirror up to nature;to show virtue her own feature,scorn her own image,and the very age and body of the time his form and pressure”(

    Hamlet

    ,III.ii,20-24).Shakespeare’s mirror is anything but a mechanical copier;it is rather a magic mirror with the power to show the truth and essence of things.When Macbeth goes to seek prophecy of the future,the three witches conjure up for him the vision of eight kings,“And the eighth appears,who bears a glass,/Which shows me many more”(

    Macbeth

    ,IV.i,119-20).This is the crucial moment of peripeteia as well as anagnorisis in the tragic play,the climactic moment of recognition when the magic mirror shows the future of the Scottish royal lineage,from which Macbeth is completely cut off.The rest of the play shows how Macbeth tries all he can to resist what the mirror has revealed to him,only to drag himself down towards the inevitable and deplorable end.In literary works,mirrors are mostly used in a symbolic sense,and such usage can be found in the earliest of literatures.In a poem in the Chinese

    Classic of Poetry

    ,or

    Shijing

    ,of which some poems date back to the eleventh or the tenth century BCE,the speaker’s troubled mind is compared to a mirror,declaring that“My heart is not a mirror /And cannot contain everything.”Another poem directly uses a mirror in the sense of an exemplum from which one may draw a lesson:“The mirror of Yin is not far to seek,/For it was right in the time of Xia.”This refers to the dynastic change that in the late Xia dynasty (c.1600 BCE),when the ruler became so tyrannical that he was overthrown,and Xia was replaced by the dynasty of Shang,also known as Yin (1600-1046 BCE).Now several hundred years had passed,and the ruler of Yin was getting to be just as bad as the last ruler of Xia;so in this poem a loyal advisor was asking the king to look at what had happened to the last ruler of Xia as the“mirror of Yin.”The poem thus served as a warning for the ruler to learn from the fall of previous dynasties and draw a historical lesson;such a symbolic image of the mirror became rather common in the Chinese cultural tradition.Sima Guang (1019-1086) of the eleventh century compiled a huge multivolume book of history,which Emperor Shenzong of the Song dynasty gave the title

    Zizhi tongjian

    ,or

    Comprehensive Mirror in Aid of Governance

    .Instead of a mirror facing books as described in Borges’s“The Library of Babel,”a book of historiography now became a mirror containing important historical precedents and counsels.The title and the purpose of this Chinese work anticipated a sixteenth-century English book,

    The Mirror for Magistrates

    ,a compilation of many poems that tell the tragic stories of the fall of many princes,which in turn had its medieval predecessors such as the

    Speculum naturale,historiale,doctrinale

    of Vincent of Beauvais (c.1250),which Curtius calls“the most voluminous of medieval encyclopedias.”The mirror becomes a symbol of knowledge,particularly esoteric knowledge that shows what may be hidden and secret,just like the mirror in

    Macbeth

    ,which was a magic mirror shrouded in mystery and endowed with prophetic power.Such mirrors become precious treasures worthy of a king or an emperor.In a fourth-century Chinese book of legends and strange stories,it is recorded that some curiosities were brought to King Ling of Zhou (reigned 571-544 BCE),including“a stone mirror.This stone has the color as white as a moon,and it reflects light on a face like snow.So it is called a ‘moon mirror’.”The record is very brief and does not specify what this“moon mirror”could do other than being bright like a moon,obviously a rare piece worthy of a king’s collection.Another Chinese book by Ge Hong of the third to the fourth century describes Emperor Xuan of the Han dynasty (reigned 73-49 BCE) always wearing“a magic mirror from India.It is of the size of a big coin.According to some old legends,this mirror could detect demons and monsters,and the one wearing it would be blessed by heavenly deities,so Emperor Xuan could always survive dangerous situations.”However,the mirror was forever lost and thus became even more mysterious.“When the Emperor died,no one knew where the mirror was.”In this case,the mirror has the magic power to“detect demons and monsters,”and the Indian provenance may suggest a Buddhist influence.In the famous Chinese novel

    Xi you ji

    ,or

    Journey to the West

    ,it is Li Jing the Heavenly King who used a“demon-detecting mirror”to see where the great rebel Monkey King was so that the Monkey could be detained by the gods and eventually turned into a loyal and capable disciple to protect the Tang monk Tripitaka on his journey to India to fetch Buddhist sutras.So the magic mirror is not something one looks into and sees only one’s own image,a poor and unreal reflection as Plato had charged,but it becomes a source of light that shines upon whoever or whatever is in front of it and reveals its true nature.In Geoffrey Chaucer’s

    Canterbury Tales

    ,such a precious mirror with discerning power appears in

    The Squire

    ’s

    Tale

    ,in which a gallant knight comes to greet the great Tartar king Cambyuskan,probably Kublai Khan,the Mongol ruler of China made well-known in Europe by Marco Polo’s travels in the thirteenth century,and the knight presents this mirror as a gift to the great Khan’s daughter.He describes this wonderful mirror as possessing the magic power to forewarn its owner of any looming threat and to distinguish for him a friend from a foe;and for a lady in love with a man,the mirror can detect any shady or disloyal conduct of her lover,so nothing can hide from her:

    This mirour eek,that I have in myn hond,Hath swich a myght that men may in it see Whan ther shal fallen any adversitee Unto youre regne or to youreself also,And openly who is youre freend or foo.

    And over al this,if any lady bright Hath set hire herte on any maner wight,If he be fals,she shal his tresoun see,His newe love,and al his subtiltee,So openly that ther shal no thyng hyde.

    In such literary usage,the mirror never simply reflects,but has the power to tell the truth despite appearances or even disguise.It becomes a more interesting and challenging question,then,whether the one who looks into the mirror is willing or able to face the truth that the mirror invariably reveals.Perhaps the most well-known literary example in this regard is the magic mirror in the fairy tale

    Snow White

    ,in which the evil queen always asks,in the version of the Grimm brothers,“

    Spieglein,Spieglein an der Wand,

    /

    Wer ist die Sch?nste im ganzen Land?

    ”(“Mirror,mirror on the wall,/Who in the world is the fairest of all?”).The magic mirror tells the truth about Snow White being far more beautiful:“

    Frau K?nigin,Ihr seid die Sch?nste hier,

    /

    Aber Schneewittchen ist tausendmal sch?ner als Ihr

    ”(“My queen,you are the fairest here,it’s true,/But Snow White is a thousand times fairer than you”).The truth is painful in the ears of the jealous evil queen and hurts her right at her heart.She tries to poison Snow White three times to no avail and dies a horrible death herself in the end.The magic mirror is truthful in what it shows and tells,but those who find truth unpalatable will ignore it at their own peril.Macbeth and the evil queen in

    Snow White

    offer prominent examples of the magic mirror from Western literature,and a comparable story also appears in the great eighteenth-century classic Chinese novel

    Hong lou meng

    or

    Dream of the Red Chamber

    .In the eleventh and twelfth chapters of that novel,Jia Rui,a relatively poor member of the Jia family clan,was infatuated with the beauty of Wang Xifeng and one of the major figures and powerful women in the novel,famous not only for her beauty,but more significantly for her abilities to control and manage things,her cunning manipulation and cruelty.Jia Rui was hopelessly overreaching himself,was despised by Wang Xifeng and derided by one of her servants as“a lowly toad wanting to eat the flesh of a swan.”Tricked,played with,and humiliated by Wang Xifeng and tormented by his unrequited love,Jia Rui fell seriously ill,and no medicine could do him any good.One day a mysterious Taoist with a limping foot came,who claimed to be able to cure diseases of sin and bad karma,and he took out from his satchel a double-sided mirror,with its name inscribed as“Precious Mirror for the Erotically Charged.”Handing the mirror to Jia Rui,the Taoist gave an interesting account of its mythic origin:“This thing comes from the Hall of Emptiness in the Land of Grand Illusions,made by Fairy Disenchantment for the specific purpose to cure impure thoughts and lecherous impulses,and it has the virtue of aiding the world and preserving lives,”said the Taoist.“Never,never look at the front,only at the back of the mirror.This is very,very important!”O(jiān)bviously,the place and personal names in this passage are highly allegorical,which clearly indicate that the magic mirror has the function of revealing truth by destroying empty illusions and infatuations.When Jia Rui looked at the back of the mirror,however,he was horrified to see a skeleton standing in it,and ignoring the Taoist’s warning,he looked at the front and found an alluring Wang Xifeng beckoning him to enter.An ecstatic Jia Rui felt himself going into the mirror and making love to Xifeng several times before giving out his last breath,lying dead in cold sweat and a pool of semen he had ejaculated in bed.Now the enthralling beauty and the frightening skeleton may be seen as a hackneyed expression of an entrenched patriarchal prejudice that related a seductive femme fatale with death,but considering the novel’s general theme and persistent concerns about dreams,illusion,falsehood,and truth,the magic mirror in this episode is emphatically about truth and fictitiousness,reality and self-delusion.That is indeed the mirror’s own defense when Jia Rui’s grandparents found him dead in bed and wanted to throw the mirror into fire.At that moment a voice cried out from inside the mirror,saying:“Who told you to look at the front? It’s you who took the unreal for the real,why should you burn me?”Suddenly the Taoist came to the rescue;he“went directly to the central chamber,snatched it away,and was gone in a flash.”This mirror has two sides that show the true and the false,and Jia Rui died because he was incapable of setting himself free from the self-deluding erotic fantasies generated by his own febrile brain.The alluring image of Wang Xifeng at the front of the mirror is not real,but his own fabrication or hallucination,and the skeleton at the back,a

    memento mori

    figure,is supposed to shock him out of sexual hallucinations and enable him to face the truth of mortality.As the author told the reader at the beginning of this novel,he had concealed all the real events and disguised them in the language of fiction;therefore,“words such as ‘dream’ and ‘illusion’ are all there to call the reader’s attention,and point to the original intention of this book.”After all,the novel is called

    Dream of the Red Chamber,

    and the mirror with its play of images may well provide a necessary tool to navigate between the world of dreams or fantasies and the world of real lived experiences.In a poem by Paul Celan,there seems to be a hauntingly similar expression that relates mirrors,dreams,and truth together:“

    Im Spiegel ist Sonntag,

    /

    im Traum wird geschlafen,

    /

    der Mund redet wahr

    ”(“In the mirror is Sunday,/in dream people sleep,/the mouth speaks the true”).It is difficult to pin down the precise meaning of these lines,but the very ambiguous juxtaposition of these words,

    Spiegel

    ,

    Traum

    ,and

    wahr

    ,is suggestive of the ideas we have discussed above,and it may not be totally senseless to say that such a juxtaposition resonates well with the“Precious Mirror for the Erotically Charged”in the

    Dream of the Red Chamber

    .Of course,mirrors appear in a variety of literary contexts with different meanings;it can be a tool for reflection.In“

    L

    Homme et la Mer

    ”(“Man and the Sea”),for example,Charles Baudelaire compares the sea to a mirror:“

    La mer est ton miroir:

    tu contemples ton ame

    /

    Dans le déroulement infini de sa lame

    ”(“The sea is your mirror: you contemplate your soul /In the infinite undulations of its waves”).Baudelaire often uses mirrors in his poetry with different meanings: he calls music“

    grand miroir

    /

    De mon désespoir

    ”(“the grand mirror /Of my despair”);the poet becomes“

    le sinistre miroir

    /

    Où la mégère se regarde

    ”(“the sinister mirror /In which the shrew looks at herself”).In another Baudelaire poem,we see the connection of mirror and truth again:

    Tête-à-tête sombre et limpide

    Qu

    un coeur devenu son miroir!

    Puits de Vérité,clair et noir,

    Où tremble une étoile livide.

    Head to head somber and lucid,

    When a heart became its mirror!

    Fount of truth,clear and black,

    Where a pale star trembles.

    The symbolic meaning of the mirror comes close to that of the magic mirror we have talked about before,and in another poem by Baudelaire,poets spend whole days in front of the goddess of beauty to study her“

    grandes attitudes

    ”(“grand poses”) because she has“

    De purs miroirs qui font toutes choses plus belles:

    /

    Mes yeux,mes larges yeux aux clartés éternelles!

    ”(“Pure mirrors that make all things more beautiful: /My eyes,my large eyes with eternal clarity!”).Here,the eyes of the goddess of beauty are compared to“pure mirrors”that not just reflect all things,but make them“more beautiful”than they are;and that is what art does.Poets spend so much time studying beauty so that they may also make the world more beautiful.The mirror,which produces images in reflection,invites poets to reflect on images produced in the poetic language,and in French poetry,Baudelaire,as Guy Michaud argues,is“the first of those magicians of words who have undertaken deliberately to reflect on the poetic language and reflect in the language as it is in the world around us.”It is thus not surprising,Michaud goes on to say,that“the mirror is a password for the

    Fleurs du mal

    .”As a symbol that produces images of the world and even improves the world,or carries with it a prophetic power,the mirror becomes a favorite metaphor for the French symbolists,who always tend to see universal connections between man and the world as microcosm and macrocosm.Nature itself,as Baudelaire puts it in his famous poem“

    Correspondances

    ,”consists of“

    forêts de symboles

    ”(“forests of symbols”),which man travels through and tries to comprehend by deciphering all the interconnections.Quoting many examples not only from Baudelaire,but also from his contemporaries and later poets and critics,such as Henri de Régnier,Albert Samain,émile Verhaeren,Georges Rodenbach,and of course Stéphane Mallarmé,Michaud makes a strong case that the mirror is at“the center of symbolist doctrine.”The French symbolists may indeed have a predilection for mirrors and their rich potentials,but let us turn to yet another use of the mirror as a crucial symbol in the paradoxical or dialectic relationship between outside appearance and inner truth,what is on the surface and what is at the core of one’s moral character.Oscar Wilde’s only novel,

    The Picture of Dorian Gray

    (1890,1891),has a literary background in the play of double identities or doppelg?ngers in Robert Louis Stevenson’s sensationally successful novella,

    The Strange Case

    of

    Dr.Jekyll and Mr.Hyde

    (1886).In Wilde’s work,however,good and bad are not represented by two persons with opposite moral characters,but by a young man and his mirror image in an exquisitely executed portrait.Both are beautiful at the start,but as the young man goes down the path of degradation into more and more horrible crimes,the man’s face remains ever so pure and beautiful,while the portrait steadily grows older and more hideous-looking.At first,it is just something Dorian began to notice:“The quivering,ardent sunlight showed the lines of cruelty round the mouth as clearly as if he had been looking into a mirror after he had done some dreadful thing.”Here the portrait is referred to as a mirror,and at a later time,he would“stand,with a mirror,in front of the portrait that Basil Hallward had painted of him,looking now at the evil and aging face on the canvas,and now at the fair young face that laughed back at him from the polished glass.”At the time,Dorian was not horrified yet by what he had done,but“would place his white hands beside the coarse,bloated hands of the picture,and smile.He mocked the misshapen body and the failing limbs.”As the deplorable things he did worsened to become even more heinous crimes,and as he finally committed murder and was tormented by his sense of guilt,the true self he was looking into in the portrait became a mirror;but in his contradictory sentiments,he still wanted to deny it and refused to acknowledge the truth.Thus,it seemed to him“an unjust mirror,this mirror of his soul that he was looking at.”The reader realizes that the portrait that has been growing increasingly hideous and ugly is the magic mirror that reflects the truth about him,that“had been like conscience to him.Yes,it had been conscience.He would destroy it.”Eventually,however,Dorian destroyed himself,while the magic mirror remained intact.When the servants came up to the room in the novel’s dramatic end,“they found hanging upon the wall a splendid portrait of their master as they had last seen him,in all the wonder of his exquisite youth and beauty.Lying on the floor was a dead man,in evening dress,with a knife in his heart.He was withered,wrinkled,and loathsome of visage.”Again,the play of the real and the unreal,with ugliness a true reflection and a beautiful face a deception,reminds us of the magic mirror in the

    Dream of the Red Chamber

    and the tragic end of those who ignore the truth the magic mirror shows or tells.I began the essay with a discussion of Qian Zhongshu’s work as a model for East-West comparative studies,continued by commenting on Borges the great Argentinian writer,and then went back to Plato,ancient Chinese poetry,and the biblical use of the mirror image.I followed by investigating the medieval convention of

    speculum

    and the“book of nature,”then discussed Shakespeare,Baudelaire,and more modern articulations.To examine the symbolic value of mirror as a metaphor or image in a broadly cross-cultural context by going outside the French literary tradition to other literatures,and back in history to ancient and medieval literature,we may realize that many basic conceptual metaphors and images are far more pervasive than we may have recognized from the perspective of one particular literary tradition.Perhaps we may say,to borrow Baudelaire’s original phrase,the“

    forêts de symboles

    ”are far greater than many poets and critics may have realized.What a comparative and cross-cultural horizon allows us to see is the wonderful confluence of human imagination beyond the differences of language,culture,and literary convention,while always retaining the specificities of each of the world’s languages and literatures in our deep appreciation.Every literary creation is particular and unique in its own way,but isn’t it always a great joy to detect and appreciate the inner connections of the human mind and human imagination beyond the endless varieties of literary creation?

    Bibliography 參考文獻(xiàn)

    (清)曹雪芹:《紅樓夢(mèng)》第11回,北京:人民文學(xué)出版社,1982年,第165頁(yè)。

    [CAO Xueqin.

    Hong lou meng

    (Dream of the Red Chamber).Chap.11.Beijing: People’s Literature Publishing House,1982,165.]

    范文瀾:《文心雕龍注》卷二,北京:人民文學(xué)出版社,1958年,第699頁(yè)。

    [FAN Wenlan.

    Wenxindiaolong zhu

    (The Literary Mind and the Carving of Dragons with Annotations).Vol.2.Beijing: People’s Literature Publishing House,1958,699.]馮國(guó)超:《中國(guó)傳統(tǒng)文化讀本·壇經(jīng)》,長(zhǎng)春:吉林人民出版社,2006年,第38,41—42頁(yè)。[FENG Guochao,ed.

    Zhongguo chuantong wenhua duben

    ·

    tan jing

    (The Platform Sutra).Changchun: Jilin People’s Publishing House,2006,38,41-42.]

    ——:《中國(guó)傳統(tǒng)文化讀本·維摩詰經(jīng)》,長(zhǎng)春:吉林人民出版社2006年,第94頁(yè)。

    [——,ed.

    Zhongguo chuantong wenhua duben

    ·

    weimojie jing

    (Vimalakīrti Nirde?a Sītra).Changchun: Jilin People’s Publishing House,2006,94.]

    (東漢)高誘:《淮南子注》,上海:上海古籍出版社,1986年,第300頁(yè)。

    [GAO You.Huainanzi

    zhu

    (

    Huainanzi

    with Annotations).Shanghai: Shanghai Classic Publishing House,1986,300.]

    (東晉)葛洪輯抄:《西京雜記》,北京:中華書(shū)局,1985年,第4頁(yè)。

    [GE Hong.

    Xijing zaji

    (Miscellaneous Records of the West Capital).Beijing: Zhonghua Book Company,1985,4.]

    (唐)孔穎達(dá):《毛詩(shī)注疏》,載(清)阮元校刻:《十三經(jīng)注疏》上冊(cè),北京:中華書(shū)局,1980年。

    [KONG Yingda.

    Mao shi zhushu

    (The Mao Text of the Classic of Poetry with Annotations).In

    Shisan jing zhushu

    (Thirteen Classics with Annotations).Vol.1.Edited by RUAN Yuan.Beijing: Zhonghua Book Company,1980.]

    錢(qián)鍾書(shū):《七綴集·詩(shī)可以怨》,上海:上海古籍出版社,1985年,第102頁(yè)。

    [QIAN Zhongshu.“Shi keyi yuan”(Our Sweetest Songs).In

    Qi zhui ji

    (Patchwork: Seven Essays).Shanghai: Shanghai Classic Publishing House,1985,102.]

    (東晉)王嘉:《拾遺記》,北京:中華書(shū)局,1981年,第74頁(yè)。

    [WANG Jia.

    Shiyi ji

    (Records of Gleanings from the Past).Beijing: Zhonghua,1981,74.]

    (明)吳承恩:《西游記》第6章,北京:人民文學(xué)出版社,1980年,第74頁(yè)。

    [WU Cheng’en.

    Xi you ji

    (Journey to the West).Chap.6.Beijing: People’s Literature Publishing House,1980,74.]

    周振甫:《詩(shī)詞例話》,北京:中國(guó)青年出版社,1962年,第253頁(yè)。

    [ZHOU Zhenfu

    .Shici lihua

    (Examples in Poetry Criticism).Beijing: China Youth Press,1962,253.]Baudelaire,Charles.

    Complete Poems

    .Manchester: Carcanet Press,2006.Borges,Jorge Luis.“Mirrors.”In

    Dreamtigers.

    Translated by Mildred Boyer and Harold Morland.Austin: University of Texas Press,1964,61.——.“The Library of Babel.”Translated by James E.Irby.In

    Labyrinths

    .

    Edited by Donald A.Yates and James E.Irby.New York: Modern Library,1964,51.——.“The Mirror of Enigmas.”Translated by James E.Irby.In

    Labyrinths

    .Edited by Donald A.Yates and James E.Irby.New York: Modern Library,1964,209.——.“Tl?n,Uqbar,Orbis Tertius.”Translated by James E.Irby.In

    Labyrinths

    .

    Edited by Donald A.Yates and James E.Irby.New York: Modern Library,1964,17-18.Celan,Paul.“Corona.”In

    Twentieth-Century German Verse

    .Edited by Patrick Bridgwater.Baltimore: Penguin,1963,266.Chaucer,Geoffrey.“The Squire’s Tale.”In

    The Works of Geoffrey Chaucer

    .2nd ed.Edited by F.N.Robinson.Boston: Houghton Mifflin,1957,129.Curtius,Ernst Robert.

    European Literature and the Latin Middle Ages

    .Translated by Willard R.Trask.Princeton: Princeton University Press,1953,319.Grimm,Brüder.

    Die sch?nsten Kinder

    -

    und Hausm?rchen

    -Kapitel 150.Available online at Project Gutenberg.Accessed May 3,2018.http://gutenberg.spiegel.de/buch/-6248/150.Heine,Heinrich.

    Die romantische Schule

    .Book II.Section iv.In

    Werke und Briefe

    .Vol.5.East Berlin,1961,98.Housman,A.E.“The Name and Nature of Poetry.”In

    Selected Prose of A.E.Housman

    .Edited by J.Carter.Cambridge: Cambridge University Press,1961,194.Michaud,Guy.“Le thème du miroir dans le symbolisme fran?ais.”

    Cahiers de l

    Association internationale des études francaises

    11 (1959): 199-200.Muschg,Walter.

    Tragische Literaturgeschichte

    .3rd ed.Bern: Francke Verlag,1957,415.Plato.

    Republic

    X.596e.Translated by Paul Shorey.In

    The Collected Dialogues,including the Letters

    .Edited by Edith Hamilton and Huntington Cairns.Princeton: Princeton University Press,1961,821.Wilde,Oscar.

    The Picture of Dorian Gray

    .Chap.VII.Oxford: Oxford University Press,1998,93.Yeats,W.B.Introduction to

    Oxford Book of Modern Verse

    .Oxford: Oxford University Press,1936,xxxiii.

    亚洲国产日韩欧美精品在线观看| 最后的刺客免费高清国语| 国产精品美女特级片免费视频播放器| 日本一本二区三区精品| 日韩国内少妇激情av| 国产精品久久久久久久电影| 最新中文字幕久久久久| 成人午夜高清在线视频| 日本黄色片子视频| 一级毛片aaaaaa免费看小| 久久亚洲国产成人精品v| 91在线观看av| .国产精品久久| 成人亚洲欧美一区二区av| 精品一区二区三区人妻视频| 嫩草影视91久久| 日韩三级伦理在线观看| 久久99热这里只有精品18| 又粗又爽又猛毛片免费看| 国产高潮美女av| 婷婷精品国产亚洲av在线| 亚洲av中文av极速乱| 悠悠久久av| 精品一区二区三区视频在线观看免费| 亚洲一区二区三区色噜噜| 色哟哟哟哟哟哟| 嫩草影视91久久| 亚洲欧美日韩无卡精品| 亚洲国产欧美人成| 99热只有精品国产| 精品久久久久久久久av| 欧美一区二区国产精品久久精品| 国国产精品蜜臀av免费| 十八禁网站免费在线| 少妇的逼好多水| 久久久久久国产a免费观看| 国产精品一区二区三区四区久久| 国产精品一区二区三区四区久久| 欧美性猛交黑人性爽| 偷拍熟女少妇极品色| 欧美激情在线99| 性色avwww在线观看| 久久国内精品自在自线图片| 国产真实乱freesex| 久久99热6这里只有精品| 91精品国产九色| 国产久久久一区二区三区| 日本三级黄在线观看| 啦啦啦韩国在线观看视频| 日韩欧美在线乱码| 亚洲最大成人中文| 男女啪啪激烈高潮av片| 九色成人免费人妻av| 国产成人影院久久av| 久久精品国产亚洲av天美| 天天一区二区日本电影三级| 亚洲精品在线观看二区| 欧美性猛交╳xxx乱大交人| 可以在线观看的亚洲视频| 天堂网av新在线| 女同久久另类99精品国产91| 精品乱码久久久久久99久播| 老司机影院成人| 又黄又爽又刺激的免费视频.| 亚洲精品一卡2卡三卡4卡5卡| 一级a爱片免费观看的视频| 成人漫画全彩无遮挡| 久久精品夜色国产| 日韩在线高清观看一区二区三区| 22中文网久久字幕| 91久久精品国产一区二区三区| 亚洲国产色片| 可以在线观看毛片的网站| 午夜福利在线观看免费完整高清在 | 晚上一个人看的免费电影| 日韩成人伦理影院| 18禁黄网站禁片免费观看直播| 美女xxoo啪啪120秒动态图| 美女 人体艺术 gogo| 国产精品电影一区二区三区| 国产精品久久久久久亚洲av鲁大| 久久精品综合一区二区三区| 日本黄色片子视频| 婷婷亚洲欧美| 国内揄拍国产精品人妻在线| 最后的刺客免费高清国语| 国内久久婷婷六月综合欲色啪| 欧美不卡视频在线免费观看| 看非洲黑人一级黄片| 国产精品女同一区二区软件| 在线看三级毛片| 赤兔流量卡办理| 老熟妇仑乱视频hdxx| 天堂√8在线中文| 国内精品宾馆在线| 看片在线看免费视频| 一区二区三区高清视频在线| 国产精品爽爽va在线观看网站| 国产中年淑女户外野战色| 日日摸夜夜添夜夜添小说| 色哟哟哟哟哟哟| 长腿黑丝高跟| 少妇猛男粗大的猛烈进出视频 | 欧美日韩综合久久久久久| 午夜福利在线在线| 精品午夜福利在线看| 夜夜爽天天搞| 成人二区视频| 看黄色毛片网站| 日韩精品中文字幕看吧| 人人妻人人澡欧美一区二区| 久久久久久久久大av| 天美传媒精品一区二区| 美女cb高潮喷水在线观看| 亚洲国产精品国产精品| 亚洲无线观看免费| 波多野结衣高清无吗| 日本精品一区二区三区蜜桃| 99国产精品一区二区蜜桃av| 啦啦啦啦在线视频资源| 国产伦精品一区二区三区四那| 小说图片视频综合网站| 成人毛片a级毛片在线播放| 亚洲美女视频黄频| 男女边吃奶边做爰视频| 天美传媒精品一区二区| 久久午夜福利片| 99热全是精品| 在线免费观看不下载黄p国产| 97碰自拍视频| 国产爱豆传媒在线观看| 搡老岳熟女国产| 国产精品一区二区三区四区久久| 搡老妇女老女人老熟妇| 成人av在线播放网站| 亚洲人成网站在线播| 亚洲成av人片在线播放无| 看十八女毛片水多多多| 此物有八面人人有两片| 国产男靠女视频免费网站| 搡老岳熟女国产| 久久久精品94久久精品| 国产精品嫩草影院av在线观看| 色av中文字幕| av天堂中文字幕网| 亚洲熟妇熟女久久| 欧美中文日本在线观看视频| 亚洲国产高清在线一区二区三| 长腿黑丝高跟| 午夜福利成人在线免费观看| 日本-黄色视频高清免费观看| 99在线人妻在线中文字幕| 能在线免费观看的黄片| 久久精品国产亚洲av涩爱 | 丰满人妻一区二区三区视频av| 久久久色成人| a级一级毛片免费在线观看| 最好的美女福利视频网| 久久午夜福利片| 国内精品久久久久精免费| 嫩草影视91久久| 天美传媒精品一区二区| 成人美女网站在线观看视频| 2021天堂中文幕一二区在线观| 亚洲av第一区精品v没综合| 熟女人妻精品中文字幕| 国产伦一二天堂av在线观看| 菩萨蛮人人尽说江南好唐韦庄 | 亚洲国产精品sss在线观看| 免费搜索国产男女视频| 人妻丰满熟妇av一区二区三区| 我的老师免费观看完整版| 国产成人福利小说| 蜜桃久久精品国产亚洲av| 欧美三级亚洲精品| 国产亚洲91精品色在线| 日韩 亚洲 欧美在线| 在线播放无遮挡| 91av网一区二区| 性色avwww在线观看| 国产激情偷乱视频一区二区| 一区福利在线观看| 可以在线观看的亚洲视频| 精品少妇黑人巨大在线播放 | 色哟哟哟哟哟哟| 国产一区二区三区在线臀色熟女| 成年女人毛片免费观看观看9| 内射极品少妇av片p| 亚洲精品日韩av片在线观看| 在现免费观看毛片| 日韩欧美在线乱码| 亚州av有码| 日韩 亚洲 欧美在线| 亚洲最大成人中文| 免费高清视频大片| 欧美另类亚洲清纯唯美| 国产高潮美女av| 亚洲av第一区精品v没综合| 精品人妻一区二区三区麻豆 | 国产精品一区二区三区四区久久| 又爽又黄无遮挡网站| 中国美白少妇内射xxxbb| 久久人人精品亚洲av| videossex国产| 联通29元200g的流量卡| 草草在线视频免费看| 在现免费观看毛片| 少妇熟女aⅴ在线视频| 亚洲av免费在线观看| 久久精品夜色国产| 99久久九九国产精品国产免费| 在线免费观看的www视频| 可以在线观看的亚洲视频| 亚洲国产精品合色在线| 色哟哟·www| 色av中文字幕| ponron亚洲| 超碰av人人做人人爽久久| 国产乱人偷精品视频| 1000部很黄的大片| 搡老妇女老女人老熟妇| 啦啦啦韩国在线观看视频| 精华霜和精华液先用哪个| 久久久久九九精品影院| 亚洲欧美日韩东京热| 亚洲av.av天堂| 久久精品夜色国产| 久久精品91蜜桃| 丰满乱子伦码专区| 中文字幕人妻熟人妻熟丝袜美| 国产高清视频在线播放一区| 一个人观看的视频www高清免费观看| 免费人成在线观看视频色| 午夜福利18| 免费人成视频x8x8入口观看| 可以在线观看毛片的网站| 少妇丰满av| 插阴视频在线观看视频| 精品久久久噜噜| 色哟哟哟哟哟哟| 免费大片18禁| 级片在线观看| 自拍偷自拍亚洲精品老妇| 在线观看一区二区三区| 简卡轻食公司| 在线观看66精品国产| 国国产精品蜜臀av免费| 又黄又爽又刺激的免费视频.| av中文乱码字幕在线| 最后的刺客免费高清国语| 中文字幕av在线有码专区| 成人国产麻豆网| 久久九九热精品免费| 免费看光身美女| 国产一区二区在线观看日韩| 亚洲精品国产av成人精品 | 久久综合国产亚洲精品| 国产大屁股一区二区在线视频| 在线观看免费视频日本深夜| 日本a在线网址| 老师上课跳d突然被开到最大视频| 精品熟女少妇av免费看| 亚洲性夜色夜夜综合| 干丝袜人妻中文字幕| 欧美绝顶高潮抽搐喷水| 国产一区二区激情短视频| 欧美色视频一区免费| 老熟妇乱子伦视频在线观看| 男女啪啪激烈高潮av片| 亚洲最大成人手机在线| 黄色一级大片看看| 亚洲精品粉嫩美女一区| 直男gayav资源| 亚洲人成网站在线播放欧美日韩| 免费大片18禁| 国产色婷婷99| 大型黄色视频在线免费观看| 久久午夜福利片| 中文字幕久久专区| 国产蜜桃级精品一区二区三区| 毛片女人毛片| 国产精品一区二区三区四区免费观看 | 在线观看美女被高潮喷水网站| 国产v大片淫在线免费观看| 日本撒尿小便嘘嘘汇集6| 国产免费男女视频| 免费高清视频大片| 老司机午夜福利在线观看视频| 麻豆久久精品国产亚洲av| 国产一区二区亚洲精品在线观看| 国产大屁股一区二区在线视频| 国产免费一级a男人的天堂| 免费电影在线观看免费观看| 久久韩国三级中文字幕| 人妻少妇偷人精品九色| 国产伦精品一区二区三区四那| 亚洲第一区二区三区不卡| 国产高清视频在线观看网站| 精品免费久久久久久久清纯| 国产精华一区二区三区| 日日摸夜夜添夜夜添av毛片| 亚洲av.av天堂| 男人狂女人下面高潮的视频| 国产老妇女一区| 亚洲七黄色美女视频| 乱码一卡2卡4卡精品| 久久人人精品亚洲av| 国模一区二区三区四区视频| 国产免费男女视频| 国产精品久久久久久精品电影| aaaaa片日本免费| 亚洲无线观看免费| 亚洲综合色惰| 欧美高清性xxxxhd video| 三级国产精品欧美在线观看| 国产精品久久久久久av不卡| 午夜日韩欧美国产| 成年女人永久免费观看视频| 99热这里只有是精品在线观看| 免费观看在线日韩| 亚洲aⅴ乱码一区二区在线播放| 日本在线视频免费播放| www日本黄色视频网| 在线观看午夜福利视频| 欧美激情久久久久久爽电影| 天堂√8在线中文| 国产不卡一卡二| 亚洲av熟女| 淫妇啪啪啪对白视频| 亚洲美女视频黄频| 秋霞在线观看毛片| 91久久精品电影网| 亚洲四区av| 老熟妇乱子伦视频在线观看| 日韩av在线大香蕉| 国产午夜精品论理片| 国产高清视频在线观看网站| 久久人妻av系列| 久久精品夜夜夜夜夜久久蜜豆| 春色校园在线视频观看| 波多野结衣巨乳人妻| 日本 av在线| 99热全是精品| 久久精品91蜜桃| 午夜老司机福利剧场| a级一级毛片免费在线观看| 亚洲国产欧洲综合997久久,| 亚洲婷婷狠狠爱综合网| 人人妻人人澡人人爽人人夜夜 | 国模一区二区三区四区视频| 国产精品国产高清国产av| 亚洲自偷自拍三级| 国产在线精品亚洲第一网站| 亚洲精品日韩在线中文字幕 | 男人狂女人下面高潮的视频| 日产精品乱码卡一卡2卡三| 91久久精品国产一区二区成人| 熟妇人妻久久中文字幕3abv| 国产精品av视频在线免费观看| 亚洲欧美日韩卡通动漫| av在线亚洲专区| 热99在线观看视频| 成人二区视频| 99国产极品粉嫩在线观看| 国产人妻一区二区三区在| 亚洲欧美精品自产自拍| 久久6这里有精品| 亚洲欧美日韩东京热| 十八禁网站免费在线| 久久久久久久亚洲中文字幕| 亚洲国产精品sss在线观看| 日本黄色片子视频| 日产精品乱码卡一卡2卡三| 亚洲aⅴ乱码一区二区在线播放| 99热精品在线国产| 国产一区亚洲一区在线观看| 成人亚洲精品av一区二区| 日韩欧美精品v在线| 午夜免费激情av| 伦理电影大哥的女人| av免费在线看不卡| 最近在线观看免费完整版| 夜夜看夜夜爽夜夜摸| 日韩欧美一区二区三区在线观看| 一级黄片播放器| 大香蕉久久网| 狠狠狠狠99中文字幕| 国产又黄又爽又无遮挡在线| 国内揄拍国产精品人妻在线| 人妻少妇偷人精品九色| 22中文网久久字幕| 免费观看人在逋| 国产在线精品亚洲第一网站| www日本黄色视频网| 少妇熟女欧美另类| ponron亚洲| 亚洲五月天丁香| 婷婷精品国产亚洲av| 国产一区二区在线av高清观看| 国产 一区 欧美 日韩| 色吧在线观看| 国产精品久久电影中文字幕| 91麻豆精品激情在线观看国产| 日本黄色片子视频| 国产一区二区在线观看日韩| 别揉我奶头 嗯啊视频| 亚洲精品日韩av片在线观看| 99久国产av精品| 日本免费一区二区三区高清不卡| 淫秽高清视频在线观看| 午夜爱爱视频在线播放| 赤兔流量卡办理| 日日撸夜夜添| 老女人水多毛片| 国产精品人妻久久久影院| 亚洲久久久久久中文字幕| 国产精品av视频在线免费观看| 国产久久久一区二区三区| 亚洲丝袜综合中文字幕| 淫秽高清视频在线观看| 国产探花极品一区二区| 亚洲高清免费不卡视频| 精品熟女少妇av免费看| 禁无遮挡网站| 日本-黄色视频高清免费观看| 美女内射精品一级片tv| 国产视频一区二区在线看| 嫩草影院新地址| 亚洲欧美日韩东京热| 欧美一区二区国产精品久久精品| 午夜日韩欧美国产| 国产精品一及| av在线老鸭窝| 精品久久久久久久久av| a级一级毛片免费在线观看| 激情 狠狠 欧美| 日日摸夜夜添夜夜添小说| 久久久精品欧美日韩精品| 一级毛片aaaaaa免费看小| 丰满乱子伦码专区| 国产在视频线在精品| 免费av毛片视频| 国产av一区在线观看免费| 黄片wwwwww| 蜜桃久久精品国产亚洲av| 蜜臀久久99精品久久宅男| 久久99热6这里只有精品| 国产精品一区二区三区四区免费观看 | 韩国av在线不卡| 国产真实伦视频高清在线观看| 成人二区视频| 亚洲美女黄片视频| 国产91av在线免费观看| 99国产极品粉嫩在线观看| 麻豆成人午夜福利视频| 2021天堂中文幕一二区在线观| 欧美区成人在线视频| 高清毛片免费观看视频网站| 国产免费男女视频| 欧美成人一区二区免费高清观看| 日韩一本色道免费dvd| 亚洲欧美日韩无卡精品| 亚洲美女搞黄在线观看 | 国产真实伦视频高清在线观看| 国产精品美女特级片免费视频播放器| 成人永久免费在线观看视频| av在线播放精品| 成人亚洲欧美一区二区av| 久久午夜福利片| 免费观看在线日韩| 欧美成人a在线观看| 精品少妇黑人巨大在线播放 | avwww免费| 欧美国产日韩亚洲一区| 九九久久精品国产亚洲av麻豆| 成人美女网站在线观看视频| 国产精品日韩av在线免费观看| 日韩大尺度精品在线看网址| a级毛片a级免费在线| 看黄色毛片网站| 久久精品影院6| 亚洲国产日韩欧美精品在线观看| 国产黄a三级三级三级人| 亚洲国产日韩欧美精品在线观看| 男女之事视频高清在线观看| 伊人久久精品亚洲午夜| 日韩欧美精品免费久久| 日韩人妻高清精品专区| 免费看日本二区| 久久久久久久久大av| 青春草视频在线免费观看| 噜噜噜噜噜久久久久久91| 欧美+日韩+精品| videossex国产| 国产免费一级a男人的天堂| 桃色一区二区三区在线观看| 国产高清激情床上av| 十八禁国产超污无遮挡网站| 综合色av麻豆| 欧美不卡视频在线免费观看| 18禁裸乳无遮挡免费网站照片| 免费观看在线日韩| 亚洲成a人片在线一区二区| 在线观看一区二区三区| 国产在线精品亚洲第一网站| 国产高清视频在线观看网站| 伦精品一区二区三区| 欧美zozozo另类| 夜夜看夜夜爽夜夜摸| 最近的中文字幕免费完整| 日本-黄色视频高清免费观看| 51国产日韩欧美| 久久精品国产自在天天线| 高清毛片免费观看视频网站| 99国产极品粉嫩在线观看| 欧美另类亚洲清纯唯美| 久久久久久伊人网av| 国产av麻豆久久久久久久| 深夜精品福利| 国产成人a区在线观看| 中国国产av一级| 真实男女啪啪啪动态图| 床上黄色一级片| 久久精品国产亚洲av涩爱 | 日韩欧美三级三区| 亚洲人成网站在线观看播放| 两个人视频免费观看高清| 在线播放无遮挡| 色播亚洲综合网| 亚洲一区二区三区色噜噜| 精品欧美国产一区二区三| 国产三级在线视频| 亚洲美女搞黄在线观看 | 久久精品国产亚洲av天美| 九色成人免费人妻av| 国内精品久久久久精免费| 日本免费a在线| 成人永久免费在线观看视频| 最后的刺客免费高清国语| 日韩一本色道免费dvd| 三级毛片av免费| 日韩精品有码人妻一区| 国产探花在线观看一区二区| 国产欧美日韩精品亚洲av| 淫妇啪啪啪对白视频| 久久精品人妻少妇| 日韩 亚洲 欧美在线| 亚洲乱码一区二区免费版| 男人的好看免费观看在线视频| 国产精品久久久久久久电影| 91在线精品国自产拍蜜月| 丝袜喷水一区| 婷婷精品国产亚洲av| 乱系列少妇在线播放| 亚洲欧美成人综合另类久久久 | 午夜老司机福利剧场| 色综合色国产| 成人性生交大片免费视频hd| 97人妻精品一区二区三区麻豆| 天堂影院成人在线观看| 97超视频在线观看视频| 久久精品国产亚洲av涩爱 | 99久久精品国产国产毛片| 嫩草影视91久久| 狂野欧美白嫩少妇大欣赏| 一区福利在线观看| 国产探花在线观看一区二区| 我要看日韩黄色一级片| 免费看光身美女| 成人av在线播放网站| 亚洲av中文av极速乱| 亚洲天堂国产精品一区在线| 国产精品精品国产色婷婷| 精品国内亚洲2022精品成人| 日日干狠狠操夜夜爽| 在线a可以看的网站| 一本久久中文字幕| 国产三级在线视频| 欧美另类亚洲清纯唯美| 久久久久久九九精品二区国产| 亚洲精品乱码久久久v下载方式| 亚洲精品国产av成人精品 | 干丝袜人妻中文字幕| 久久久久久久久久黄片| 国产免费男女视频| videossex国产| 蜜臀久久99精品久久宅男| 又黄又爽又刺激的免费视频.| 有码 亚洲区| 变态另类成人亚洲欧美熟女| 久久久久性生活片| 国产精品福利在线免费观看| 一本精品99久久精品77| 国产黄色小视频在线观看| 欧美不卡视频在线免费观看| 国产麻豆成人av免费视频| 草草在线视频免费看| 国产成人a区在线观看| 亚洲aⅴ乱码一区二区在线播放| 日韩精品青青久久久久久| 国产单亲对白刺激| 麻豆国产97在线/欧美| av福利片在线观看| 国内精品宾馆在线| 最新中文字幕久久久久| 99久久精品一区二区三区| 俄罗斯特黄特色一大片| 免费看光身美女| 午夜老司机福利剧场| 午夜福利在线观看免费完整高清在 | 99久国产av精品国产电影| 亚洲成人精品中文字幕电影| 欧美极品一区二区三区四区| 亚洲熟妇熟女久久| 国产老妇女一区|