The previous humble article ("Walking" to the Red Chamber series of humble articles 76) preliminarily explores the deep meaning of Baoyu's feminine behavior in the "paper full of absurd words" of the Red Chamber text, which is the author's use to ridicule and imply an apocalyptic "props" caused by political struggles between men. So what is the essence of the political struggle that takes place among men in the text? What is its specific historical prototype?
At the beginning, when the leper monk saw Yinglian, he cried that he was "fateless and unlucky, and he was involved with his father", and Li Yanzhai, who "knew very well in the bottom of the book", was full of emotions about it: "Look at the first woman he wrote about the opening volume, and use these two words to determine his life, then he knows the purpose of the meaning of the words, who is said to be alone in a 'love' word? The three points of Wu Hou, the second emperor of Wu Mu, the hatred of the two sages, and the inexhaustible situation of the present, the grass of the present! ”
Zhuge Liang "died before he could succeed in his life, and the hero was filled with tears"; Yue Fei "Jing Kang was ashamed, Yu Weixue; the courtiers hated, when will they be extinguished?!" Both go away with unfulfilled wishes and regrets, and the root cause of both is the unfulfilled ideal of orthodox politics, so the text must conceal the hatred of orthodoxy that is "inexhaustible" and "inexhaustible", and the essence of the political struggle between men in the text is the struggle between orthodoxy and unorthodox, and the result is the defeat of the orthodox side.
The text "Write False is True" (the second lipogram), with "Outline of this Book, Great Bito, Great Irony" (Fat Criticism), Qin Keqing [Note 1] implying the abolition of the Crown Prince Yinrong as orthodox symbols, and Jia Jing [Note 2] with "Ji Qiu Decadence and Depravity Are All Respected" and Jia Jing [Note 2] alluding to Yongzheng. The struggle between the princes represented by Yin Rong and Yongzheng, which took place during the Kangxi Dynasty, is the prototype of the political struggle between the men of the text "Zhen Shiyin".
This power struggle between brothers made the times turbulent, and the result was an unorthodox end of the world in which "white bones forget their surnames, nothing more than princes and red makeup", and the author is tired of this kind of struggle between men, but he also has deep sympathy for Yin Rong and regards it as orthodox.
However, in the so-called Taiping And prosperous Qianlong Dynasty, where the "literal prison" is everywhere, it is of course a fantasy to present all this bluntly. Therefore, the genius author can only use the "biography of the boudoir court" that "originally recorded the girlfriend's love of the day" to create a pure girl's world to contrast and satirize the ugliness of the male world.
The second time, Baoyu's strange words about his daughter were one by one: "Daughters are flesh and bones made of water, and men are flesh and bones made of mud." When I see a daughter, I am refreshed; when I see a man, I feel that it is muddy and smelly. "These two words of this daughter are extremely noble and pure, and they are even more honorable and infallible than the two treasures of Amitabha Buddha and Yuan Shi Tianzun!" The fat batch also pointed out: "With strange words that have not existed since ancient times, they are written into strange texts that have not existed since ancient times." This is a book of big ridicule fables, cover the author is really because of the sorrow of the partridge, the power of the tang, so he wrote this biography of the boudoir court. ”
In the Qianlong Dynasty, where the "prison of words" was densely woven like a net, the Yin Rong tree was already a great rebellion, and Yin Rong obviously could no longer appear in the image of a bearded eyebrow [Note 3], so the author presented the text in a dreamlike form, so that the characters in the story "had no difference between men and women" (the first time before the general approval), so that the Yin Rong, who was no longer alive, could "love the heavens and love the sea illusion body", transformed into a female image, Qin Keqing, appeared in the dream text, and as "the outline of this book, the big bito, the great irony". Together with Zhu Fang such as Chao Dai Xiang Ling Qing Raid, the most important character group in the text is 112 Chao.
However, if you only write innocent female characters, it is obvious that the text will not make a fascinating classic novel. Love is an exciting and eternal literary theme, so it is necessary to arrange a male character to talk about "love" and "love" with this group of young and beautiful girls around him, and this person is of course not the first person in the text.
However, in the feudal era when men and women "did not eat and did not sit together", this was obviously extremely inappropriate, so the author had to lay the groundwork, and Baoyu's feminine quirks were the preparations made by the author, and it was also the reason why Baoyu was close to the pure girl's world. Moreover, in order to "facilitate" Baoyu and Zhufang to talk about "love" and say "love", the author also carefully set up a large viewing garden of "Jade Brother and the Twelve Nobles" (the sixteenth fat batch), so that Baoyu and Zhufang could stay in it.
In the process of talking about "love" and "love" with young girls, Baoyu felt that it was still difficult to cope with this alone, thus further highlighting the difficulty of the unorthodox end of the world. For example, in the twenty-second "Listening to the Quwen Baoyu Enlightenment Zen Machine", Baoyu "was originally the two of them (Daiyu and Xiangyun), afraid of being annoyed, Fang reconciled in the middle, did not want to reconcile, but fell into two places of defamation", "the more I think about it, the more boring it is." Thinking about it more carefully, at present, these two people have not yet compromised, what do they want in the future? Lip critic pointed out: "Look at his only one pen, how well he writes Baoyu with his heart in the world." The red pink in the boudoir is not yet complete, why should he want to rule the world and treat people and things? Seeing nature in the boudoir is like a child's play, and looking at the world is like a tiger and a wolf, who is not? ”
At the same time, the genius author can also create a "big purpose of love" [Note 4] "Jia Yucun Dialect" that seems to have nothing to do with politics through the quirks of Baoyu, the first righteous person in the text, and in the process of Baoyu's so-called "love" and "love" that has gone through the wind and moon, "writing false is knowing the truth" (the second fat batch), so as to clearly cultivate the "boardwalk" of "love" and secretly cross the "Chen Cang" of politics.
For example, the Grand View Garden, as the perch of Jia Baoyu and the Twelve Nobles, is undoubtedly the most important stage in the Tongbu Book. Due to the existence of Qin Keqing, as the most important stage in the Tongbu Book, the Grand View Garden has the meaning of an orthodox symbol, which also conceals the dispute between orthodoxy and unorthodox around "Qin". The seventeenth time, "Daguanyuan Examination Questions are Correct", the description of the process of the question "Tingting Huayi" in the text has fully implied this.
Before the bao yu title "Ting Ting Hua Li", the Qing Ke drew up two names, "Wuling Yuan" and "Qin Ren Old House". "Wulingyuan" and "Qin people's old house" have great meaning, for the three words of "Wulingyuan", Jia Zheng laughed: "Implemented again..." To the four words of "Qin people's old house", Bao Yu said: "This is more and more exposed, 'Qin people old house' said to avoid chaos..." The sixty-third time, the first raider of the deputy twelve chao people occupied the peach blossom name signature, the title was "Wuling Farewell Scene", there is a poem on it "Peach red is another year of spring", this old poem comes from the Song Dynasty Xie Fangde's "Qingquan An Peach Blossom", the text quotes this sentence, in fact, the meaning is in the previous sentence" Find a paradise to avoid Qin."
The deep meaning of the Grand View Garden is already very obvious, that is, the Grand View Garden containing the "Tateting Flower Garden" is actually another "too illusory realm" carefully set up by the author to avoid the chaos of "Qin". "Avoiding the chaos of Qin" is, of course, avoiding the unorthodox Qing represented by Jia Jing (Yongzheng), which can be called "violent Qin" [Note 5].
Baoyu's femininity quirks are described by a word in the text, that is, "Yi Hong". In the Analects of Yang Goods, Confucius "the evil purple snatches Zhu Ye, the evil Zhengsheng chaos Yale also", and the Southern Song Dynasty Zhu Xi notes "Zhu" as "positive color" and "purple" as "intercolor". Baoyu, as the "crown of Zhuyan" of the Grand View Garden, is of course also a representative of orthodoxy in the text, so these femininized quirks of Baoyu have great significance, both to imply his legitimacy as the "Crown of Zhuyan" (the seventeenth general batch), and to the dark tide of the dispute between orthodoxy and unorthodox in the text[Note 6].
However, the most important point of the greatness of "Dream of the Red Chamber" lies in its unparalleled richness, and from the text, we can not only see the author's "heart of the bodhisattva" of the author who "traces the traces of sorrow and joy and rises and falls, does not dare to wear them slightly, and loses his true successor for the sake of the eyes of others" (the stone language in the wedge), but also the "heart of the bodhisattva" of the author who "does not break the sorrow and awaken the snooze alone, but also has great benefits" (the first lipogram).
Baoyu's femininity quirks connect Baoyu's talk of "love" and "love". The process of Baoyu talking about "love" and saying "love" deduces the arduous and tortuous process of how to reach the highest realm of wisdom in the world, which shows the author's "bodhisattva heart".
Jia Baoyu feels in "love" and grows up in "love", and eventually will become a "loveless" love monk who is "ignorant and ignorant in the world, and he has an infatuation to be considerate" (the eighth fat batch), that is, to reach the realm of his symbol", "psychic treasure jade", similar to the leper monk who appears from time to time in the illusion, "pointing out that there are several people in the psychedelic sea" (the third lipogram). The realm of the so-called "psychic treasure jade", that is, the leper monk engraved on it and "eliminating evil spirits, curing wrongs, and knowing misfortunes and blessings", is born with the heart of entering the world, with Buddhas in the heart, all the people, and compassion for the heavens and the people.
Just the seemingly boring and cumbersome detail of Baoyu's "love red" leads directly to the vein of the Tongbu book, which corresponds to the criticism of Li Yanzhai - "The author is not empty" (the thirteenth time).
Genius uses his magical pen, on the basis of reality, with his extraordinary creativity, to create a unique "this one" treasure jade for the corridor of world literature history, which is unforgettable. Although The Fat Critic points out that Baoyu is the author's "self-contained" and Baoyu has the author's shadow, "Dream of the Red Chamber" is a novel after all, and Baoyu is not completely equivalent to the author. The nineteenth lipogram also pointed out: "According to this book, a treasure jade is written, and its treasure jade is a person that I have seen in the book in my generation and know that there is this person, but I have not seen it with my own eyes." Writing Baoyu's speech is always puzzling, and Baoyu's birth is ridiculous, not only has he never seen such a person in the world, but he has not seen such words in all the novels and biographies of ancient times. Even worse in the case of The Child. It is really understandable in its incomprehension, but it cannot be explained in the solution, and it is contemplated with all its eyes, but if he really sees a treasure jade and really hears this, it is impossible to move to the second person, nor is it a word. ”
Note 1, for details, see the "Line" Walking in the Red Chamber" series of humble articles 1 "Qin Keqing is the wasted prince Yinrong"
Note 2, for details, see the "Xing" Walking in the Red Chamber" series of humble articles 4 "Jia Jing is Yongzheng"
Note 3: Qin Keqing is actually a symbol of perfection in the text, for example, the thirteenth time, Qin Keqing died, "the older generation thinks of him as filial piety, the ordinary generation thinks of him as harmonious and intimate, the next generation thinks of him as a kind and loving person, and the servants in the family think of him as a poor and pitiful person, loving the old and loving the young, and they do not mourn and weep bitterly." Li Yanzhai criticized Qin Keqing's "pity for the poor and the lowly, love for the old and love the young": "The eight characters are the shangren (Gui Zhen), and should be inscribed on the five hearts." And so on. This is contrary to Qin Keqing's so-called "obscenity", in fact, in the feudal era, the relationship between emperors and brothers is a relationship between kings and subjects, but also a father-son relationship, in the so-called boudoir legend that "there are metaphors in the table", "Qin Keqing's obscene funeral Tianxiang Lou" is the author's use of the so-called "sentient place" between Jia Zhen and Qin Keqing's so-called unruly love between Weng's daughter-in-law (the seventh return to the previous batch), to metaphorically refer to the "ruthless place" (the seventh return to the former general approval) between the two brothers Yin Rong and Yongzheng. For details, see "Walking the Red Chamber" series of humble articles 3 ""Yongzheng" at the funeral of cats and mice" 58 "The "Jewel" with great meaning"
Note 4, the fifty-fourth time, "Shi Taijun broke the old set, Wang Xifeng played the colorful clothes", the two female pioneers at the request of Jia Mu, first roughly said the original reason for a new book "Feng Qiu luan", although Jia Mu did not hear this new book, but immediately guessed the ending of the story, and refute the novels of this kind of talented and beautiful people are all the same, this is the so-called author stone to empty karate people cloud in the wedge "To the best talent and other books, then a thousand copies are together, and in the end can not be involved in obscenity, so that the paper Pan An Zi Jian and Xi Zi Wen Jun" Later, the text once again refuted the novel of Caizi Jiaren, which is extremely rare in the text of "the pen is not empty", and the author also strongly implies that the text with the emotional entanglement between Bao Daichao as the main line, which seems to be "the purpose of the love", is actually not the repetition of the old-fashioned style of the caizi beauty, but has another deep meaning.
Note 5: For details, see "Walking" to the Red Chamber" series of humble article 15 "The Symbol of the Grand View Garden"
Note 6: During the Qianlong period in which the author lived, the poet Cai Xian was killed by quoting the ancient "Yongzi Peony" verse: "Take Zhu Fei's color, and the xenomorph is called the king", and get involved in the "literal prison".
Note 7: In the thirteenth criticism of the thirteenth commentary, Li Yanzhai, who "knows the bottom of the proposed book", pointed out that "Dream of the Red Chamber" is "deeply rooted in the golden bottle kettle", and there is also a sentence in the history of novel research that "there is no "Golden Bottle Plum", there is no "Dream of the Red Chamber"" between the two, and there are many similarities.
Both are in the name of the former dynasty ("Jin Ping Mei" borrows the name of the Great Song Dynasty, and the actual dynasty where the writer is located is the Ming Dynasty; "Dream of the Red Chamber" is in the name of the lost former dynasty of "dynastic age and local public opinion state", and the Qing Dynasty where the writer is located. But they are concerned about the current sentient beings; both focus on a family, write about the daily life of the family, and also write about the rise and fall of the family; both of them show the sentient beings of society by writing the history of the rise and fall of the family, thus expressing the author's philosophical thinking about life and society; both are intentionally depicting love and love, both are written around the hero A group of women with different personalities, and occupy most of the book's ink.
However, if "Dream of the Red Chamber" only blindly imitates "Golden Plum Bottle" without innovation, how can it occupy the peak position of classical Chinese novels? Moreover, it also completely fails to live up to the author's "words seem to be blood, and ten years of hard work is unusual", so there is still a clear difference between the two. For example, Jin Ping Mei expresses the, Dream of the Red Chamber is the love of youth; Jin Ping Mei is mostly realistic, while Dream of the Red Chamber is freehand, and so on. However, the real difference between "Dream of the Red Chamber" and "Jin Ping Mei" is that it has both positive and negative sides, and has a richness and profundity that is difficult to achieve in "Jin Ping Mei".
Author: Guo, this article is to read less of the original works of the Red Chamber.