The reading of the whole book "Dream of the Red Chamber" has been included in the compulsory content of the national unified high school Chinese textbook. This issue today publishes an article by Tian Peng, a doctoral student at East China Normal University, to promote guidance on the reading of Dream of the Red Chamber.
First, let's get to know Dr. Tian Peng's student——
Tian Peng, male, born in 1987 in Kaifeng, Henan, ph.D. candidate of the Department of Chinese of East China Normal University, mainly engaged in the study of Zhuzi and poetry. Obviously, you can eat by appearance, but you are so talented. He is clear and partial.
"Twelve Sons of Jinling" and "Twelve Sons of Pre-Qin"
Tian Peng
Abstract: The relevant plot of "Dream of the Red Chamber" to the "Twelve Nobles of Jinling" in the Grand View Garden is the epitome of the controversy of the hundred families of the pre-Qin Dynasty. The character image of the "Twelve Sons of Jinling" implicitly corresponds to the twelve pre-Qin sons discussed in "Xunzi Non-Twelve Sons". The pre-Qin "Twelve Sons" are the prototypes of the "Twelve Sons of Jinling", which have similar political ideas or personality traits, and are comparable in terms of life experience. The life experience and ending of the "Jinling Twelve Chao" is the author's interpretation of the "Twelve Sons" and the ideological system of the "Twelve Sons" and their schools, and implies praise and criticism. This is also the intersection of "red studies" and "sub-studies" research. Taking the "Twelve Sons" of the pre-Qin Dynasty as the starting point, it is also possible to speculate on the fate of the "Twelve Sons of Jinling" in the forty times after the "Dream of the Red Chamber".
Keywords: Dream of the Red Chamber; Twelve Chao; XunZi; Non-Twelve Sons
The first cloud of "Dream of the Red Chamber": "Later, because Cao Xueqin read it for ten years in the mourning Red Xuan, added and deleted five times, compiled into a catalog, and divided into chapters, it was titled "The Twelve Nobles of Jinling". [1] These twelve women are the souls of the book. Mr. Yu Pingbo summed up their commonalities in the article "The Description of the Twelve Nobles" in "Dream of the Red Chamber"[2]: First, they are all talented and insightful. Second, what happened to them was unfortunate. Third, they are "the bell of the middle of the air", there will be some resistance, but also have shortcomings. Fourth, they have a place to be better than men. Fifth, they do not distinguish between beauty and evil in their status. These five articles are an accurate analysis of the position of the "Jinling Twelve Chao" in the novel, and are also the premise of the character archetype research on the basis of faithfulness to the ancient book "Dream of the Red Chamber".
The pre-Qin Twelve Sons, metaphorically referred to by the Twelve Dynasties, contain the author's prediction of the critical and social practical value of their academic thought by the authors of Dream of the Red Chamber, and more importantly, pay tribute to their spirit of resistance, especially the exclusivity advocated by Xunzi, who is also a pre-Qin son, in the Non-Twelve Sons. However, in the political and academic environment that does not actually allow heretical voices to be heard, the ideas of the Twelve Sons have their own weaknesses and helplessness, and can only be divided and disintegrated by the times. The ending of the twelve women incarnated by the twelve sons of the pre-Qin Dynasty in the Grand View Garden is not only a portrayal of their political views and academic thoughts, but also a microcosm of the historical fate of a school. This also has certain significance for deducing the character archetypes of the "Jinling Twelve Chao" and the deeds in the last forty times.
The author's purpose of writing "Dream of the Red Chamber" is not only to "establish a biography for women", but also to pay tribute to the "hundred schools of thought" of the pre-Qin princes. The image of the twelve chabi is both shape and meaning: shaping the multi-body body, internalizing the image of the sons into the twelve women; using multiple metaphors to write freehand, including the ideas of the "twelve sons" of the pre-Qin Dynasty and implying praise and criticism, forming a self-sufficient and introspective structure. This way of creating is also an innovation in the method of writing novels in the Qing Dynasty.
First, on the prototype research of "Jinling Twelve Chao"
At present, the research of the red academic circles on the character archetype of "Dream of the Red Chamber" can be roughly divided into two categories.
The first is to excavate texts, combine the relevant historical and cultural physical remains and "fat batches", examine the rise and fall of the Cao family, and try to correspond the people in the works with the Cao family one by one. The premise of this research method is to assume that "Dream of the Red Chamber" must have an "autobiographical" element. The "Fat Yan Zhai" and "Teratical Wats" that appear in the manuscript commentary may be people who are related to the author. But even if "Dream of the Red Chamber" is a faithful reflection of the luxurious life of the author in the first half of his life, regardless of the novel's complex transformation and distortion of the character image, it is difficult to examine the source in the current situation of poor materials. Mr. Liu Xinwu's interpretation is such a representative. In this regard, Mr. Yuan Shishuo commented: "Attributing the content and significance of "Dream of the Red Chamber" to the personnel affairs of a family in history, does this deepen or hinder the understanding and understanding of this novel? Does it elevate or dwarf the significance of this world-famous classical novel? It can be seen by comparing the connotation of the tragedy of life shown in "Dream of the Red Chamber" with the corruption of the Jia family, that is, the Cao family, revealed in "The Secret". Doesn't this latter belong to the category of "palace secrets" of the gossipers that Lu Xun ridiculed? ”[3]
Second, starting from the connotation of the text, trying to find an archetype for the people in the book in history from the perspectives of political struggles caused by the Ming and Qing Dynasties, ethnic contradictions and the revival of liturgical music in cultural history, as well as religious evolution. This kind of research is the practice of Mr. Hu Shi's method of "bold hypothesis and careful verification", which often provides readers with a broader vision, but sometimes has the disadvantage of over-elaboration. Mr. Qiao Fujin's "The Twelve Nobles of Jinling" and "The Twelve Philosophies of Confucius" belong to the latter type of research. The premise of the conclusion of this article is to "Baoyu innuendo Confucius" and to correspond "Jinling Twelve Nobles" with the image of Confucius's twelve disciples. This is another way in the study of the character archetype of "Dream of the Red Chamber", standing at the origin of traditional Chinese culture - the pre-Qin to examine the "Dream of the Red Chamber" at the other end of ancient Chinese literature, which is refreshing to read.
However, Mr. Qiao Fujin's argument raises at least four questions:
First, the name "Twelve Philosophers of Confucius" began with the Confucius Temple sacrifice that began in the eighth year of the Tang Dynasty (720 AD). At the beginning, there were only "Ten Philosophies" and "Disciples of the Four Disciplines of the Sacred Gate", and according to the four disciplines of "Virtue", "Speech", "Political Affairs" and "Literature", Qing Kangxi joined Zhu Xi in the fifty-first year (1712 AD), and Qianlong iii (1738 AD) joined Youruo. Assuming that the author of "Dream of the Red Chamber" was indeed influenced by the change of Confucius's sacrifice system, then Mr. Qiao replaced Youruo and Zhu Xi, who joined later tang with Yan Yuan and ZengShan, I wonder what canon this "new version of the Twelve Philosophers of Confucius" comes from?
Second, the character image of "Dream of the Red Chamber" is full, and the discussion of human nature has considerable depth, if the author is referring to the personality or deeds of the "Twelve Philosophers" to shape the "Twelve Nobles", is there any suspicion of mechanically distinguishing the personality traits of the "Twelve Nobles" with the "Four Branches of Confucius"?
Third, the "Twelve Philosophers" in Mr. Qiao's text are all disciples of Confucius or disciples of the Re-transmission (Zhu Xi of the Southern Song Dynasty is not a disciple of Confucius), and regardless of whether the image of Baoyu is related to the orthodox etiquette system of Zhongni or the Zhou Dynasty, the relationship between the "Twelve Nobles of Jinling" is intricate, and in the face of the etiquette and the attitude of major joints such as "Golden Jade Liangyuan" and "Mushi Qianmeng", the "Twelve Nobles" have their own plans, which is too different from the harmony of the relationship between the "Twelve Philosophers" and the "Twelve Philosophers". From this point of view, the analogy of the "Twelve Nobles" to the same disciples is also inappropriate.
Fourth, Mr. Qiao also mentioned at the end of this article: "There are very few materials about the disciples of Confucius, so that the correspondence between the twelve people of the Golden Nobles and one of the twelve sages cannot be too clear in some aspects", plus the "twelve" is the number of the earth branches, which appears in many historical materials and literary works on the mainland, and the twelve main volumes, supplementary volumes, and sub-volumes collected by the "Too Illusory Realm" in the fifth episode of "Dream of the Red Chamber" are a total of thirty-six people, totaling the number of thirty-six days, and the twelve plates in the main book have their own dream songs and judgments. This is not only a proverb of the fate of these twelve women, but also a clue to the novel, although the dream of the Red Chamber is slightly different in each version, but the general meaning is the same. If "Twelve Nobles" represents "Twelve Philosophers", then what should be the explanation for the tragic ending of the women? Assuming that the Twelve Nobles in "Dream of the Red Chamber" are only to reflect the tragic fate of a Confucian disciple, does this monumental work involving Confucianism, Buddhism, and Taoism seem to have a weak connotation?
The bell must also be tied to the ringer. If we want to reasonably explain the above problems, we must first start from the controversy of the hundred schools of thought of the pre-Qin sons, combine the two clues of politics and family in "Dream of the Red Chamber" and the connotation of "Grand View Garden", to analyze the driving force of the author's shaping of the image of "Twelve Nobles" and the historical character archetypes of "Twelve Nobles", in order to truly interpret the historical relationship between the pre-Qin sons of the origin of traditional Chinese culture and the Qing Dynasty literary masterpiece "Dream of the Red Chamber" at the other end of ancient Chinese literature.
In order to avoid misreading, the study of the archetype of the historical figure of the "Jinling Twelve Chao" should follow four principles: First, the personality of the characters in the "Dream of the Red Chamber", especially the "Jinling Twelve Chao", the propositions on major joints, or the main life experiences should be similar to the character archetypes, that is, the fit of personality traits. Second, the clues such as sentences, songs, poetic works, and proverbs matched by the characters in the book "Dream of the Red Chamber" should be closely related to the character archetype. In other words, the search for the archetype of the character should help the presumption of the content of the last forty times of "Dream of the Red Chamber". Third, the author's love and hatred for the people in the book should be consistent with the praise and criticism attitude of the character archetype. Fourth, the "mirror role" of the characters in the book "Dream of the Red Chamber" (such as Jia Baoyu to "Zhen Baoyu", the people in the sub-book and the sub-book) must be comparable to the relationship between the character archetype.
Mr. Liu Mengxi called the three questions of "who is the fat Yan", "who is the son of the celery family", and "the author of the sequel" as the "three dead knots" of red studies. [4] Until these questions are answered, it is difficult to make a breakthrough in the speculation of the "Jinling Twelve Chao" real-life prototype. Contemporary red studies have been quite developed, but before more objects and texts are discovered, the study of red studies, especially the excavation of character archetypes, should be text-based, and the inferences related to it should be closely related to textual studies.
II. The Grand View Garden Association and "Xunzi Non-Twelve Sons"
Daguanyuan is the paradise where Baoyu and the "Twelve Nobles of Jinling" live, where they write poems, enjoy flowers and drink, and have open and secret struggles in harmony. The Grand View Garden is also a mirror image of the "too illusory realm" in the human world, and the story structure of "Dream of the Red Chamber" is full of such true and false, virtual and real relative scenes. "Grand View Garden" is the materialization of "too illusory realm", the latter is a quiet and peaceful world, aside from the exaggerated description of the fairyland, the biggest difference between the former and the latter is that there are more "controversies".
Many previous studies of red studies have been swayed by the ideology of the "Left", which has attributed the "cries" of the "Twelve Nobles of Jinling" in the Grand View Garden to anti-Confucianism or anti-ritualism. "Dream of the Red Chamber" is a profound and inclusive fable, and the "controversy" of "Daguanyuan" is not a simple quarrel after the daughter's family tea and dinner, but the author expresses the author's views on history, philosophy, aesthetics and politics through the mouth of the women. These twelve women all have distinct personalities, but they also have commonalities, and the author's respect for the ancestors of Chinese culture can be seen in many places in the book. Therefore, Mr. Zhou Ruchang said, "In the late Qing Dynasty, a scholar surnamed Chen Shu'an once pointed out that Cao Xueqin's Dream of the Red Chamber was not a novel, but should be classified as a sub-department. I think this person is really remarkable, and being included in the sub-department is equivalent to saying that "Dream of the Red Chamber" is not a wild history or idle book in the traditional concept, but a masterpiece of thought. ”[5]
"Dream of the Red Chamber" simulates the Grand View Garden as a microcosm of the historical scene of the hundred families of the pre-Qin dynasty, in order to express the desire for freedom of thought and speech, pay tribute to the era of the pre-Qin dynasty that can freely argue, and also express indignation at the rule of the Qing Dynasty that suppressed freedom of speech at that time. The disintegration of the Grand View Garden is the failure of the "Jinling Twelve Chao" struggle, which is a metaphor for the voice of the "pre-Qin sons" finally disappearing in vain in the long river of history.
Assuming that the collision of ideas in the Grand View Garden of the "Twelve Nobles of Jinling" is a restoration of the historical scene of the pre-Qin Hundred Schools of Thought, then there should be a corresponding or similar historical scene between the two. There are two more important summaries of academic history in the pre-Qin Dynasty: one is "Zhuangzi, Miscellaneous Chapters, Tianxia"; and the other is "Xunzi Non-Twelve Sons". Others, such as Sima Tan of the Western Han Dynasty on the Six Essentials of the Family, and Ban Gu's "Hanshu Yiwenzhi", although they are also references for the study of pre-Qin Zhuzi studies, but because of the relatively late completion of the book, the reference value for the study of the character archetypes of "Dream of the Red Chamber" is not as good as the first two.
"Zhuangzi, Miscellaneous Articles, And The World" belongs to the category of works of the pre-Qin Daoists who advocated the doctrine of "doing nothing", and the comments of the pre-Qin families are relatively fair, the praise and criticism are pertinent, and the advantages and disadvantages of the ideas and practices of each school are involved. Zhuangzi's praise and criticism are not extreme evaluations, but rigorous attitudes of discussion and faithful recording. On the other hand, the "Xunzi Non-Twelve Sons", which advocates the "ritual system" and even gives birth to the ideological factors of the Dharma, is full of the smell of gunpowder attacks on other schools, and Xunzi severely criticizes all other families except Shun, Yu, Confucius, and ZiGong, who are the "sages" in his eyes, and his words are sharp, and even compares the enemy to "beasts". Its purpose is to "take the system of The Upper Dharma Shun and the Yu, and the Lower Fa Zhongni and the Ziyi Of the Bow, in order to serve the twelve sons of the Twelve Sons"[6]. After such an extreme evaluation of the schools of different opinions, of course, there is no room for academic discussion for the various schools. This attitude of elimination is the same as the attitude of the parents of the big family in "Dream of the Red Chamber" towards the "heretics" of Baoyu's younger generation.
In the ideological circles of China's dynasties, it is not difficult to escape the fate of chaos and unity and death, but the rulers, proceeding from the political needs of order over disorder, have always opposed the controversy of a hundred schools of thought, and all the ideas and speeches that may trigger the society to move from forced stability and order to freedom and disorder are all regarded as heresies and are strictly forbidden and suppressed, and the last thing the rulers want to see is the great chaos in the world instigated by the "theory of evil and dispelling.". However, all thinkers are like bees instinctively fond of free picking and blooming flowers. The invaluable free spirit of "Dream of the Red Chamber" lies in the fact that under the high-pressure aura of the Great Unification Culture of the Qing Dynasty, the cultural ideas like the pre-Qin Zhuzi were virtually reproduced in words alone, and the cruel and broken situation of "opening to the flowers of the dragon" was deliberately deduced. This is a silent cry and resolute struggle against cultural authoritarianism. The author of "Dream of the Red Chamber" used the "Twelve Nobles of Jinling" to sing and compare the hundred schools of thought in the Grand View Garden, in order to oppose the so-called "benevolent things" and "traces of the Holy King" pushed by Xun Zi and the power to suppress dissidents. Therefore, the analysis of the archetypes of their historical figures should be traced back to the source and found in "Xunzi Non-Twelve Sons".
(1) Miao Yu and its hustle
In the history of pre-Qin Zhuzi studies, the Xunzi Non-Twelve Sons divides the twelve sons who participated in the ideological controversy into six groups and places them in a position hostile to the "Way of the Holy King", which is to be finally eliminated. The name of the first of these twelve sons, "Ithu", because it appears only in this article of Xun Qing in all pre-Qin works, its identity has become a mystery.
In fact, all the material that can be speculated about its identity is implicit in this "Xunzi Non-Twelve Sons": First, it should not be an unknown figure, and the other eleven who are juxtaposed with it all have their own strokes in the academic history of the pre-Qin Dynasty. Xun Zi not only listed him as the head of the "Twelve Sons", but also used very extreme words to fiercely oppose his doctrine, presumably he should have been a first-class figure in the Spring and Autumn Period and the Warring States Period, and had considerable ideological appeal in the Eastern Zhou Dynasty. However, for unknown reasons, Xunzi used a contemptuous title such as "it hustle" to cover up his original name. Second, the Xunzi Non-Twelve Sons puts the name of Wei Mu together, and according to the records and evaluations of Wei Mou, it can be at least speculated that It Huan is as casual and elegant as Wei Mu in personality, and is good at talking. Third, the following reference to this behavior in "Xunzi Non-Twelve Sons" echoes the above: "How much can not be and flowing, although arguing, the villain is also." Therefore, labor and not civil affairs are called adultery; labor knows but does not discipline the first king, which is called adultery; arguing that the commandment qi gives convenience and does not obey the etiquette is called adultery. These three adulterers, forbidden by the Holy King, are also forbidden. [7] The only masters who met this condition were Zhuang Zhou and Hui Shi, but the latter's enthusiasm for politics (Shi Xiangyun Jinxin Embroidery below) was obviously not to Miao yu's liking. It can be boldly guessed that "Ta Hu" refers to the Taoist Zhuang Zhou. Zhuangzi, who advocates "nature" and "inaction", is obviously incompatible with Xunzi, who respects Confucianism and Shangfa. Mr. Zhang Yuanshan made the same conjecture in the article "Three Versions and Their Similarities and Differences"[8]. Another article, the Three Discernments of the Jixia Daoists[9], examines the misrepresentation of the phrase "Fan Sui", but lacks stronger evidence.
In the "Twelve Pieces of Jinling" in "Dream of the Red Chamber", there happens to be such a woman who does not know her surname as "It Hu", she is called "Miaoyu", with hair cultivation, surveying red dust, peaceful and humble, and also prefers to read "Zhuangzi". The sixty-third time in "Dream of the Red Chamber" borrowed the mouth of Xing Yuyan to introduce Miaoyu: "So he called himself 'a person outside the threshold'. It is often praised as Zhuangzi's good, so it is also called 'deformed'. If she calls herself a 'deviant' on the post, you will return her as a 'world'. The aberrant, who claims to be a deformed person, humbles herself to being a disturber in the world, and she rejoices. Now she calls herself 'the man outside the threshold', and she claims to be outside the threshold; so now you only have to go 'the man outside the threshold', and you are in line with her heart. [10] "Deviant" is from "Zhuangzi Neicha, Grand Master VI": "Zi Gong Yue: 'Dare to ask the deviant?'" He who is deformed is deformed by man and is adept to heaven." Therefore, it is said: the villain of heaven, the gentleman of man, the gentleman of man, the villain of heaven. [11] Most of the people in the Grand View Garden are people in temperament, mostly fascinated by "greed, anger, and infatuation", only Miaoyu can break through life and death, people are "inside the threshold", the heart is "outside the threshold", she is an innocent gentleman's friend to Baoyu, and no one in her eyes is rich and poor. She read Zhuangzi and did not write poetry and debates like Bao Dai. Although she was attached to the Jia family, she was strong and independent in her soul, and she never felt that "the wind sword and frost sword were strictly forced" like Daiyu, who also sent people under the fence. Zhuangzi's personality is almost internalized to Miaoyu.
When the author of "Dream of the Red Chamber" created the image of Miaoyu, he should have referred to Zhuangzi's personality and thoughts, Miaoyu's monastic identity, the mystery of his name and origin, his special status in the Grand View Garden, etc., all of which are very consistent with the ideological and cultural image and historical status of Miaoyu in the article "Xunzi Non-Twelve Sons".
Zhuangzi replied to the second envoy of the Chu king, "Towards the end! I will trail the tail in the paint. Compared with Miao Yu's sentence, this is also quite subtlely related: "If you want to clean He Zengjie, the cloud sky may not be empty." Poor gold and jade, finally trapped in the mud. [12] The painting accompanying the sentence is a piece of jade left in the mud. The "pitiful" part of Miaoyu lies in the loss of the Daguanyuan as a platform for free exchange of ideas, no attachment, after leaving the Daguanyuan, losing the opportunity to appreciate their own treasure jade and realize the value of life, "clean" becomes meaningless because of the loss of the appreciator, and "emptiness" is passive helplessness. Also falling in the mud, traditional red scholars, based on the understanding that "Dream of the Red Chamber" is a complete tragedy, believe that Miaoyu's final ending is tragic, and it is said that after forty times in guben, Miaoyu was abducted by adulterers in order to save Baoyu. This sentence is a coincidence with Zhuangzi's famous answer, MiaoYu did not care whether she lived above the temple or was far away, after the fall of the Jia family, she could only stay away from the political center like Zhuangzi, "In Tuzhong" for the rest of her life.
Both Miao Yu and Zhuangzi are participants in the "controversy", but also calm bystanders and critics. "Zhuangzi Miscellaneous Chapters, Tianxia" is a pertinent commentary on the pre-Qin sons; if Miaoyu can retreat from the whole body in the last forty times of "Dream of the Red Chamber", then she should be the most qualified person to record the events in the Grand View Garden. The fifth time in "Dream of the Red Chamber": "Because I asked the names of the immortals again: a dreaming fairy, a beloved master, a mournful golden girl, a degree of hatred of Bodhi, each with different numbers." [13] These four fairy girls are specifically mentioned as four women who are particularly important in Baoyu's life, and some scholars have corresponding them to Daiyu, Xiangyun, Baochao, and Miaoyu, indicating that in the author's mind, Miaoyu is the fourth key figure in Baoyu's life.
(2) Qin Keqing and Wei Mu
Wei Mu in "Xunzi Non-Twelve Sons" was once the son of the King of Zhongshan, and the Zhongshan Kingdom, formerly known as the Xianyu Tribe of the Northern Di Tribe, was once regarded as a problem by the Central Plains states. Wei Mu only traveled around after the fall of the country, and his ideological tendencies were similar to Zhuangzi's. Qin Keqing, one of the "Twelve Nobles of Jinling" in "Dream of the Red Chamber", and Wei Mu, the "dead prince" in "Xunzi Non-Twelve Sons", have similarities.
According to Mr. Liu Xinwu's research, Qin Keqing should be the daughter of "Prince Yizhong Lao Chitose", that is, the daughter of the number one political enemy of the rulers of the Kangqian Dynasty. Some red scholars believe that Qin Keqing was a member of the royal family of the previous dynasty or a relative of the political enemy of the current dynasty rulers, living in the Jia family. There are many research results related to Qin Keqing's secret and prominent identity, especially the research of Zhou Ruchang and Liu Xinwu, which is a collection of works and will not be repeated. Although this kind of research method of using one person as the clue to interpret the whole book is too extreme, it can at least show that Qin Keqing's identity has its mysterious and special nature, and indeed has the possibility of being born noble.
"Zhuangzi Rang Wang" once gave Wei Mou a high evaluation: "Wei Mou, the prince of the Ten Thousand Multipliers, his hidden rock cave is also difficult for the cloth people; although it has not reached the Tao, it can be said that it has its own meaning." Wei Mu "Hidden Rock Cave", Qin Keqing "Great Hidden in the Dynasty". She was "above the river and the sea, and her heart was under the majesty." [14] It is really "both in and out of worry, and retreat and worry", which is also a description of Qin Keqing's state of mind when he was living in the Jia family. In particular, although Wei Mu himself had not reached the realm of the "Dao", he was already very close; after Qin Keqing's death, Jia Fu "all sighed and was a little sad", and Jia Mu also "knew that Qin Shi was a very appropriate person", both of them received high evaluations, and they were both people who understood the essentials in the chaotic world.
Qin Keqing's life is written with sadness, when she was born, she was an orphan girl held by the Yangshengtang, when she died, Jia Fu was full of an atmosphere of sorrow, and the person who came to mourn was also a prominent person, which showed that her special identity was similar to the identity of the prince of Wei Mu. None of the other pre-Qin sons discussed in Xunzi non-Twelve Sons had such prominent and dangerous (political prisoner) origins.
Qin Keqing also has another identity, that is, Baoyu's sexual enlightener, that is, the sister of the "Police Illusion Fairy" in the "Too Illusory Realm", who was promised to Baoyu in a dream. The importance and particularity of Qin Keqing's identity are self-evident. In "Zhuangzi Qiushui", Wei Mu has a very wonderful passage about Gongsun Long, using the "frog of the kanjing" as a metaphor for people who have never seen the world, and extremely talking about the breadth of the sea. It is said that Gongsun Long "mouth is unable to close, tongue is lifted but cannot be lowered, but it is easy to go." From the perspective of enlightening Baoyu's sexual consciousness, Qin Keqing was also the one who brought Baoyu out of the "Kanjing".
In the thirteenth time of "Dream of the Red Chamber", Qin Keqing asked Sister Feng for a dream before his death, talking about the possibility of the big family turning from prosperity to decline. The sentence "After the three springs are gone, each must find its own door." "It will also be fulfilled later. Qin Keqing was one of the few people in Jia Province, and even in the Grand View Garden, and in her eyes, most of them were probably similar to the "Frog of the Kanjing".
Different books of "Dream of the Red Chamber" have very different descriptions of Qin Keqing's ending. Something closer to the original appearance should be Jia Shu Ben Hui Hou Fat Batch: "Qin Keqing Obscene Funeral Tianxiang Lou". [15] Her sentence: "Love is a fantasy of love, and when love meets, it will be adulterous." The rhetoric is glorious, and the beginning of the provocation is really rather than good"[16] points out this relationship. And the same identity is prominent, her life is a mystery, Miao Yu can go far away, but Qin Keqing can not escape a death, the reason is likely to be that Ke Qing's detachment is not as complete as Miao Yu, and her political identity is both an honor and a burden.
(3) Xue Baochao and Chen Zhongzi
Xue Baochao, one of the "Twelve Nobles of Jinling" in "Dream of the Red Chamber", the corresponding character in "Xunzi Non-Twelve Sons" is Chen Zhongzi, and the Xue family behind it has strong financial resources, and the "Talisman" describes her family as "good snow in a good year, and pearls are like earth and gold like iron." [17] With the support of a strong family background, she was able to straighten her waist in the midst of the Grand View Garden and become the most powerful contender for Baoyu's affection with Daiyu. Chen Zhongzi was a descendant of the qi guotian clan of nobles, and his family was rich and wealthy, and the Mencius Tengwen Gongzhang Sentence said that he was "Zhongzi, qi zhi shijiaye, brother Dai, Gailu Wanzhong". [18]
Chen Zhongzi and Baochao are very similar in their lifestyles: although the family is prominent, they do not have to be excessively self-restrained and frugal to an extreme extent. Forty times in "Dream of the Red Chamber", Jia Mu went to her "蘅芜苑", only to see that "the snow cave is general, there is no one-color plaything, there is only one earthen bottle on the case, and the bottle contains several chrysanthemums, and two books, tea cups, and tea cups." The bed is only hung with a green gauze curtain, and the mattress is also very simple. Jia Mu said: "Young girls, the room is so pure, it is also taboo." [19] The Xue family and the Jia family are both family families, but Miss Qianjin's boudoir is arranged like this. Jia Mu is likely to have a prejudice against Xue Baochao because of this, so she firmly supports the "Mushi Former Alliance".
Xue Baochao's clothes are not incense, there are no playthings in the room, and his life is extremely simple, Chen Zhongzi's thrifty province is especially better than Xue Baochao, who "lives in the mausoleum, does not eat for three days, hears nothing, and sees nothing." There is a plum in the well, and more than half of the people who eat the real thing are creeping forward, and they will eat it, swallow it three times, and then hear it and see it. "He weaves a body, and his wife is a weaver, so that it can be easier." [20] Mencius was quite dismissive of this, feeling that this incorruptibility was excessive, and that it was almost hypocritical: "The husband worm, eat the soil, drink the yellow spring." If the middle of the child, the worm and then the also. [21] It is not without irony that he said, "As a soldier of the State of Qi, I will take Zhongzi as a giant." ”[22]
There is an essential difference between Chen Zhongzi's pathological self-denial and Zhuangzi's detachment from the world, and his restraint on self-desire is rooted in the excessive emphasis on his own reputation, and the subconscious mind is seeking fame and fortune in return. This is similar to the "cold incense pill" that Xue Baochao took in the seventh episode of "Dream of the Red Chamber", because she was "a hot poison brought from the womb of the mother". [23] This is a metaphor for the contradiction between Xue Baochao's external behavior and inner personality: her boudoir is pure, but she competes for the wind everywhere, making "everyone say that Dai Yu is not enough"; the "Crab Wing" she made suppressed the crowd, but turned around and advised Dai Yu that "a woman without talent is virtuous". Xue Baochao and Chen Zhongzi's pursuit of moral character and social status are both inherently contradictory, and this contradiction is often fatal.
Dream of the Red Chamber was written in the forty-ninth year of Qianlong (1784). During the Yongzheng period before this, the ruling class particularly emphasized the Confucian style of life of "rich and frugal". "Those who are good at the top are called the wind, and those who are learned below are called customs." This deliberate pursuit of frugality slowly evolved into a paranoid social bad habit. "Dream of the Red Chamber" should be affected by this, and there are many criticisms of deliberate frugal behavior.
Chen Zhongzi pursued the principle of "not subjecting to the king, not ruling his family, and not asking for the princes"[24], which is similar to Xue Baochao's strict self-control over himself. Zhao Wei later asked the Envoy Qi when he mentioned Chen Zhongzi and said, "Why has this leader of the people out of uselessness not killed so far?" [25] It can be seen that although Chen Zhongzi is the guardian of the mainstream values of the times, because this extreme self-denial is at the expense of basic human feelings, even the ruling class does not advocate that everyone is like this.
(4) Lin Daiyu and Shi Yu
In the "Dream of the Red Chamber" "Jinling Twelve Chao", the mirror image directly related to Lin Daiyu is the most, there are "Daizhu Immortal Grass", there is Qingwen in the "Second Book", as well as Xiaohong, Lotus Official and Xiangling, and they can find Lin Daiyu's shadow on their bodies. The group of women she represents is the least tolerant of the mainstream value orientation of society in the female community led by the "Twelve Nobles", because under the soft appearance of their women, the spirit they uphold is extremely strong. Lin Daiyu's cautious and upright personality, rather than bending, and the behavior of repaying favor with death and advising the king with corpses correspond to a historical official in "Xunzi Non-Twelve Sons", ShiYu Chieftain.
Dai Yu is Bao Yu's soul mate and opposes the "career economy" path set by parents for Bao Yu. In the thirty-second time of Dream of the Red Chamber, Bao Yu thanked Daiyu for her support: Has Miss Lin ever said these words? If she had said these, I would have been separated from her. [26] She was Baoyu's only comrade-in-arms in the choice of life path, and it was her innocence that caused her fate.
Shi Yu's most famous allusion is that before his death, he asked his family not to "cure the funeral room", and to "advise" Wei Linggong with "corpse advice" to warn the monarch to stay away from the courtier Mizi flaw. From Lin Daiyu's sentence "Lamentable virtue, pity Yong Cai!" The jade belt hangs in the forest, and the golden hairpin is buried in the snow"[27] It seems that her fate is very tragic. "Hanging in the forest" should be "hanging on the southeast branch", hanging himself to death, not the dying manuscript written in Gao Yan's sequel. Lin Daiyu's life in the Jia family was "three hundred and sixty days a year, and the wind and sword were severely forced"[28], and she was intolerant. She came for "Returning Tears", and she must have encountered major changes, and the only thing that could make her pay for it was Baoyu. There is reason to speculate that after forty times after "Dream of the Red Chamber", there were major events before and after Bao Yu Baochao was forced to marry, which made Dai Yu tell Bao Yu with death.
Confucius praised Shi Yu in the Analects of Wei Linggong: "Straight Shi Yu, bang has a way like a ya, and bang has no way like a ya. [29] "Ya" is an arrow, which has two meanings, one is the "straight" of Confucius literally and in his appearance, and the other is the implicit "rigidity" of opening the bow without turning back and moving forward. The "straightness" in moral conduct and the "rigidity" in the world are representatives of the perfect personality of the pre-Qin historians, but whether it is the pre-Qin who contended with the sons or the cultural rigidity of the Qing, this is not a pleasing personality type. Lin Daiyu and Shi Yu are both examples of the perfect personalities of loyalty and perseverance in cultural history, and their merits are the reasons for the tragedy of their lives.
"Dream of the Red Chamber" has the meaning of "establishing a biography for women", that is, "repairing history", and in this book, there are many places to pay tribute to historians: Dai Yu has "Funeral Flower Yin", "Peach Blossom Line", and "Chrysanthemum Poem" for the history of flower repair, and "Wumei Yin" for Xi Shi, Yu Ji, Ming Concubine, Lu Zhu, and Hongfu In the history of the five women who sacrificed their lives for the lord (lover). Daiyu's uprightness, such as Shi Yu's "corpse advice" and Qu Yuan's "throwing into the river", expresses high praise for the historians who do not submit to the powerful forces and preserve the historical truth with their lives. The emotional color of this praise is also consistent with the author's preference for Daiyu in "Dream of the Red Chamber".
(5) Li Feng and Mo Zhai
In the view of traditional red scholars, the positioning of Li Feng, one of the "Twelve Nobles of Jinling", can be summed up by "dead ash of the wood", since Jia Zhu's death, she has placed all her hopes on Jia Lan, pure heart, and does not ask about the world. However, this ignores the chivalry and responsibility that Li Feng has. To study her, we must talk about Jia Zhu. Although Jia Zhu did not appear in the main text of "Dream of the Red Chamber" because of his early death, there are many places in the book that can see the influence he left behind, including the family's desperate sustenance for Baoyu's participation in the "Career Economy", Jia Zheng's reluctance to see Jia Huan, etc. When Baoyu was beaten, Madame Wang "suddenly remembered Jia Zhu again, so she called Jia Zhu and cried: 'If you live, I will die a hundred times. [30] Baoyu was her own son, so how could she not be distressed if she was killed? Combining her parents' expectations for Baoyu, it can be speculated that when Jia Zhu was alive, he should be a decent person, which was very in line with the requirements of rongning's second house for succession. If he does not die, the future should be another Jia Zheng.
As his wife, Li Feng pinned her hopes on her husband, and she and her husband went to the goal of feudal parenthood, and the same was true for her cultivation of her son's Jialan. However, in the Grand View Garden, as a young widow, she lived in the environment of contention, and some changes also occurred.
In the "Sons of the Pre-Qin Dynasty", Mozi studied Confucianism in his early years, but later felt that the prosperity of Confucian ritual music wandered away, and became a family of his own and a group of leaders, and even in the social and ideological circles of the Warring States period, there was a situation in which "the words of the world do not return to Yang and return to Ink" [31]. This is similar to the situation in which Li Feng devoted himself to joining the army with Jia Zhu in his early years, lived alone after Jia Zhu's death, and took charge of the Grand View Garden Poetry Society to glow his life in the controversy.
Li Yi was a widow, and his residence was called "Daoxiang Village", which was a "number of thatched huts" and "Daoxiang Old Farmers", and should live in harmony with everyone in the Grand View Garden. Mozi called himself a "contemptible person", flaunted the "Dayu" who was a strong ascetic, and was known as the "cloth man" who "put his heel on the top of the heel", advocating "both love", "non-attack", "Shangxian", "Shangtong", "thrifty use", "festival burial", "non-music", "non-life", "Tianzhi", and "Ming ghost". Li Feng and Mozi are very similar in their lifestyle, cultural orientation and the handling of their social interpersonal relationships.
The earliest initiator of the Daguanyuan Association was Li Feng, who also asked Wang Xifeng for money to solve the economic problems of the poetry society, and used her own residence as the "site", and finally the poems that everyone made were handed over to her for evaluation. Bao Yu commented on her: "Good looking, and the most fair." [32] When the hundred schools of thought contended, there was a saying that "non-Confucianism is ink", and Mozi had a strong appeal and personality charm. Among the twelve scholars who were criticized in "Xunzi Non-Twelve Sons", only the Mo family's "Juzi" could be compared with the identity of Li Yi's "palm altar" of the Daguanyuan Poetry Society. Li Feng's chivalry is also very similar to the style of renxia who is responsible for and in charge of the Mojia School society.
(6) Jia Yingchun and Song Ju
Song Ju in the "Sons of the Pre-Qin Dynasty" roughly had two major propositions: One was to hope that the rulers and the people would be pure in their hearts. "Xunzi Zhengyi": "Zi Song Zi Yue, the love of man, the desire to be widowed, and all with their own feelings, for the desire of more, is also too much." Therefore, leading his disciples, discerning their words, and making clear their claims will make people want to know. [33] The second is to maintain inner peace and social stability by curbing desires and avoiding fighting. "Zhuangzi Tianxia" commented on him and Yin Wen: "See insults are not humiliated, the fight to save the people, the forbidden attack of the sleeping soldiers, the battle of salvation." In this way, the world is walked in a weekly manner, and the upper and lower teachings are taught. ”[34]
These ideas and propositions of Song Ju are very consistent with the ideas and ways of dealing with the world, Jia Yingchun, one of the "Twelve Nobles of Jinling" in "Dream of the Red Chamber". Yingchun is the second lady of Jia Fu, with a respectable status, but she is weak and afraid of things, and even because she is afraid of provoking trouble, she does not care about right and wrong, "poking a needle and not knowing how to beep". The seventy-third review of "Dream of the Red Chamber" "Miss Cowardly does not ask Lei Jinfeng" said that Yingchun's Golden Phoenix jewelry was taken by the next person to gamble money, and she did not pursue it. When raiding the Grand View Garden, her personal servant Siqi asked her for help, but she ignored it, indirectly causing Siqi to commit suicide, "The sub-family is a mountain wolf, and Dezhi is rampant." The golden boudoir is willowy, and once it is carried away, it will not be able to save himself once the wicked man has been enlightened. No one can stay away from the world, and the person who does not care about the world will one day come to care for him.
"Xunzi Feixiang" says: "Born with desires; if you want but can't, you can't ask for nothing; if you want without measuring and dividing, you can't be indisputable; if you are chaotic, chaos is poor." [36] It can be seen that Xunzi also advocated that people should properly restrain their desires to avoid disasters, but jia Yingchun and Song Ju's way was also excessive in Xunzi's eyes, and the Xunzi Zhengyi commented on Song Ju: "However, it is not exempt from the rule of the most chaotic, but it is not very bad! [37] It was the "excessive" restraint and desire that led Jia Yingchun to the destruction of his life.
Mr. Wang Xianqian believes in the "Xunzi Collection" that when Song Ju was studying in the Palace of Jixia, his teachings had considerable influence among the people through word of mouth. Yingchun's similar attitude towards the world also has a group of unknown followers in the Grand View Garden. For example, Jin Ju, who threw himself into the well, and Xi Xue, who was picked up. Yingchun, as the second miss, still has to take her life, not to mention people at a lower level! Although the above-mentioned Miao Yu and Dai Yu are also tragic, after taking the initiative to fight, the meaning of life is also different. These are the predictions of the author of "Dream of the Red Chamber" for the possible bad results of Song Ju's thought in the practice of life, and also a criticism of People like Jia Yingchun and Song Ju.
When talking about Song Ju in "Zhuangzi Getaway", he praised Song Ju: "And Song Rongzi still laughed. And the world praises without persuasion, the world does not discourage, determines the distinction between inside and outside, and argues the situation of honor and disgrace. [38] Because Zhuangzi's views are similar to those of Song Ju and others, this is indeed the philosophy of life that is most incompatible with social reality. The miaoyu metaphorically of Zhuangzi is finally "poor gold and jade, and finally trapped in the mud", and Jia Yingchun, who metaphorically refers to Song Ju, is "golden boudoir willow, a load to huangliang", how similar the two are!
(7) Wang Xifeng and Shen Arrived
Among the sons of the pre-Qin fa, Li Wu and Shang Martin showed the "law", Shen Bu harmed the "skill", and the caution was shown with the "potential", and Han Fei combined the "law, the technique, and the potential" trinity. When discussing "Law", his thoughts include "Law", "Technique", and "Potential", especially the concept of dignity and inferiority and order, which is very explicit: "Establishing a king and respecting the wise is a struggle between the wise and the king, and its chaos is worse than the absence of a king." "To be cautious of the power of the ruler, it is necessary to rely on the "potential" to govern the country in order to order and prohibit, once the monarch legislates, no one can waver, "the monarch is not respected by the sages, the people are one in the king, and the matter is decided by the law, which is the road of the country." [39] This was the theoretical basis of the ancient Chinese monarchy.
In "Dream of the Red Chamber", Wang Xifeng is capable and spicy but arbitrary. Her deceitful tactics are very much in line with the theory of cautious and cautious Hetian Biao in "Xunzi Non-Twelve Sons": "If you still have the law and cannot do it, the lower cultivation is good, the upper is taken from the top, and the lower is taken from the custom, and if it is written into a canonical text all the time, and if it is examined, it has no destination, and it cannot be determined by the state." [40] Similar to the "potential" on which she was in charge, the "potential" that she was cautious about was particularly prominent in that he believed that the changes in "law" and "technique" should be based on the "potential" and that the "potential" should be beneficial to itself. From the perspective of modern jurisprudence, his theory is absurd, essentially "rule by man". Wang Xifeng handles the affairs of the big family as if he were governing the country, not talking about the law but only about human feelings and private interests, and it is bound that the country will not be a country, and the family will not become a family.
Wang Xifeng's family is also cautious on the side of the mind, she is the great housekeeper of Jia Fu, holding a lot of power, but she relies on eloquence and authority to deceive and deceive, and only cares about the loyalty of her servants and her own interests. The sixty-fifth time in "Dream of the Red Chamber", Xing'er said to her: "The mouth is sweet and bitter, two sides and three knives, a smile on the top, a tripwire under the feet, the light is a fire, the dark is a knife." [41] Isn't this also a portrayal of the way the feudal bureaucracy behaved?
Prudent and Wang Xifeng's strategies for governing the country and the family are excessively utilitarian and ignore moral indoctrination. In the fifteenth time of "Dream of the Red Chamber", Wang Xifeng said: "I never believed in what is the retribution of Yin Si Hell, and by what it is, I said that I would do it." [42] She did not have any faith or moral standard in her heart, and interest became the only criterion for her to rule the law." The virtuous are not enough to be undefeated, and the position is enough to be subservient. [43] Fortunately, after studying Han Fei from the representative Dharma, this moral indoctrination and attitude toward meritocracy changed. "Han Feizi Nanshi": "The husband wants to chase after the speed and does not know Ren Wangliang, and if he wants to go into the benefits and eliminate the harm, he does not know ren Xianneng, and he does not know the kind of suffering." ”[44]
The author of "Dream of the Red Chamber" is very dismissive of Wang Xifeng's cautious thinking, in the Grand View Garden, the daughters in Baoyu's eyes are "flesh and bones made of water", even if they are like Yingchun who invite misfortune due to "inaction", Baoyu is sympathetic. However, among the "Twelve Nobles", the only one who has a major stain on personal morality is Wang Xifeng, and the other eleven are not the only ones who have played with power or recklessly abused people's lives to harm others and benefit themselves. Wang Xifeng and Shen Da had actually betrayed the universal values agreed upon by the sons of the pre-Qin Dynasty. Later generations of rulers ruled the country by legal means, and by the time "Dream of the Red Chamber" was written, the political pressure reached its peak, tracing back to the roots, and there was a great connection with the idea of prudence.
It is undeniable that the extreme utilitarian nature of prudent thinking also has a practical side. Wang Xifeng was able to maintain the operation of the family by borrowing from the east to the west under the condition of the Jia family's thinning of the western mountains, and he could also make money by means of bribery and money lending, and he really had a great ability to govern the family. Wang Xifeng's sentence: "All birds come from the last days, and they all know and love this life." One from two to three people wood, crying to Jinling matter more mournful. [45] "The phoenix is male, the phoenix is female", and the text is written as "female phoenix", implying that Wang Xifeng does not let her eyebrows be raised in terms of ability, which is a high evaluation. Suppose that this phoenix can be put on the "moral" cage, presumably it should not fall like this.
(8) Jia Xichun and Tian Biao
Corresponding to Jia Xichun, one of the "Twelve Nobles of Jinling" in "Dream of the Red Chamber", is Tian Biao in "Xunzi Non-Twelve Sons". Tian Biao's work "Tian Zi" has died. However, Liu Xin of the Han Dynasty said in the "Seven Sketches": "Tian Biao is good at talking, so the Qi people are known as Tiankou Biao." [46] In terms of saying this, Tian Biao and Jia Xichun seem to have a big difference.
"History of Meng Xun Lie": "Tian Biao Qi people, learn the art of Huang Lao's morality." [47] He advocated abandoning interests, returning all things to "Qi", and resolving social contradictions and problems by means of "clear division" and "establishing justice". He and Shen were equally famous, and the Zhuangzi Tianxia summarizes the thought of Shenzhi and Tiantian, saying: "Qi is the first of all things" [48].
The author of "Dream of the Red Chamber" created this character in order to use her negative behavior to flatter Wang Xifeng, who is similar to her outlook on life. First of all, Jia Xichun and Wang Xifeng are both extremely self-interested. Xi Chun is the youngest of the twelve, except for Sister Qiao, who is "not tall enough and described as still small" when he appears, does not play much in the book, and only appears a few times when the conflict breaks out, and has always been self-protected at all costs. When her personal maid entered the painting during the inspection of the Grand View Garden, she was found to have privately transmitted items, and Xi Chun took the initiative to ask for severe punishment for entering the painting. She and Wang Xifeng are both on the big joints, disregarding human feelings and morality, and doing whatever it takes to protect their own interests. The difference is that Wang Xifeng has the right, but Xi Chun has no power. This is very similar to tian biao's political views of caution, both of which despise the role of the sages and advocate absolute obedience to the law or the king.
The second is the sharp contrast between Xi Chun's "cold mouth and cold heart" and Wang Xifeng's "Ming is a pot of fire, dark is a knife". Xi Chun once said: "The ancients said it well, 'Good and evil live and die, father and son can't help'... I just know that it is enough to keep me, no matter you", "Don't be a cruel person, it is rare to be a self-helper." [49] These words would not seem abrupt if they came from Wang Xifeng's mouth forty times after "Dream of the Red Chamber". Xi Chun's "cold" seems to be unavoidable, she has a lot of principles, but in fact lacks faith.
Xi Chun's sentence was: "The scenery of the three springs is not long, and the makeup of the past years is changed." Poor embroidered houmen woman, lying alone next to the green lantern ancient Buddha. [50] Xi Chun's renunciation was not an epiphany of life, nor was it forced by the situation speculated by some red scholars, but was determined by her personality traits. When the outside world makes it impossible for her to complete her "self-preservation" character, she can hide in the Grand View Garden; when she inspects the Grand View Garden, she will rush into the painting to make a stand for herself; when the Great View Garden as a spiritual home collapses, in order to preserve her moral integrity, her choice can only be to escape into the empty door. Her life trait is not "forced to choose", but in indifferent "self-selection".
(9) Shi Xiangyun and Huishi
Shi Xiangyun in "Dream of the Red Chamber" and "Jinling Twelve Chao" have both parents died like Daiyu, but there is no negative emotion of complaining about the world, and she can always feel a positive attitude towards life in her. Her verdict: "What is richness?" The swaddling parents violated; the eyes were hanging obliquely, and the Water of the Xiang River passed away Chu Yunfei. [51] Apart from the unfortunate death of her parents, her verdict could not have deduced that she had a tragic ending." In the "Too Illusory Realm", her song is titled "Sorrow in Music", which sings: "Quasi-folded to the bumpy shape of childhood, after all, it is the clouds scattered high Tang, the water drying up the Xiang River." This is the number of long in the dust, why should we be sad in vain? [52] The last sentence also expresses the author's attitude towards life: although life is impermanent, there is no need to grieve because of unfortunate things, and both happiness and misfortune are "number should be". Mr. Zhou Ruchang, who believes that "Dream of the Red Chamber" is a "realistic autobiography", believes that "Fat Yan Zhai" is the prototype of Shi Xiangyun, and it is likely that Baoyu and Xiangyun came together after experiencing upheaval and displacement. [53]
The archetype of the historical figure corresponding to Shi Xiangyun should be the famous Huishi of the Warring States period.
First of all, both Shi Xiangyun and Huishi have outstanding personal talents. "Zhuangzi Tianxia" records: "Huishi has many parties, and his book is five cars." [54] In the Grand View Garden, Shi Xiangyun's talent went straight after dai Yu and Bao Chao, and her poems, like herself, were "heart without dust and without her mouth". The Seventy-six Times of the Dream of the Red Chamber shows that the Grand View Garden has shown signs of decay, and the people who gather to discuss the future of the Grand View Garden happen to be Lin Daiyu (Shi Yu), Xiang Yun (Hui Shi) and Miao Yu (Zhuangzi). The historical Huishi was a good friend of Zhuangzi, and his "Ten Events of History" was preserved by Lai Zhuangzi. "Zhuangzi Tianxia" commented on many pre-Qin sons, Xiangyun and Daiyu were the ones who stayed at the scene of the controversy for the final discussion.
Second, both Shi Xiangyun and Huishi have rare heroic pride and tolerance. Xiangyun is relatively poor in the "Jinling Twelve Chao", her parents have died, she lives with her uncles and aunts, and she also has to do female red to subsidize the family. But in the Grand View Garden, she never seemed to lose anyone else in momentum, she was delicate and lively, her personality was straightforward, she would say what she thought, she herself said: "What do you know, is the real celebrity self-style, you are all fake Qinggao, the most disgusting, I will chew a big mouthful of fishy food, but when I come back, it is a brocade embroidery." [56] Zhuangzi wrote down many of Huishi's words, showing that he was above the hearts of other sons of his contemporaries. The sixty-second time of "Dream of the Red Chamber", "Xiangyun Drunken Sleeping Peony Medicine" is also one of the most beautiful scenes in the book. Coincidentally, the Zhuangzi De Chong Fu records that Huishi also said: "Leaning on the tree and groaning, according to the tree and looking at it." In the form of the Chosen Son, the Son sings in a firm white. [57] It is no wonder that Xiang Yun and the transcendent Miao Yu have so many common languages.
Third, Shi Xiangyun and Huishi have similar life experiences, and their sharp teeth and Huishi's eloquent speech are also quite similar. Huishi was the convener of the "Hezhong" and once advocated that Qi and Chu unite against Qin. However, he was forced to leave Wei because King Hui of Wei turned in support of Zhang Yi, and became friends with Zhuangzi in the Song Kingdom. After Zhang Yi fell out of favor, Huizi fang returned to the State of Wei. It can be speculated that in the last forty times in the text, Xiangyun was forced to leave the center of the controversy, "each had to find their own door" and then lived with Miao Yu (Zhuangzi) outside the Grand View Garden for a period of time. Her dream song is "Sorrow in Music", no matter how free she is after leaving the Grand View Garden, it should be unsatisfied, and her talent can only be appreciated on such a specific stage as the Grand View Garden. Huishi and Zhuangzi were watching the fish on top of the haoliang, and Keiko said, "I am not a son, I don't know the son, the son is not a fish, the son does not know the joy of the fish, all!" [58] His famous fish-watching conversation with Zhuangzi is not a simple allegorical game between the wise men, but a deep sense of powerlessness behind it. After leaving the stage, in the eyes of others, he lived a very happy life, and only he himself knew his pain.
The tragedy of Xiangyun and Huishi is that at the most important time, they cannot appear where they should appear, they cannot do what they should do, they can only watch from a distance and wait for others to end the curtain before they can go back.
(10) Jia Qiaojie and Deng Analytic
In the ancient book "Dream of the Red Chamber", Qiao Jie, one of the "Twelve Nobles of Jinling", occupies very little space, far less than Xue Baoqin, who is equally prominent and talented, but she is included in the "main book", and there is reason to guess that Qiao Jie should be an important clue after the fall of the Jia family in the last forty years, and her main roles are in the scattered space.
She is the daughter of the powerful Wang Xifeng, and the egg under the nest. Look at her sentence: "Defeated And the family is dead." Occasionally, because of the Liu clan, he happened to meet a benefactor. The caption reads: "A deserted village shop with a beautiful man spinning there." [59] Combined with The Criticism of Li Yanzhai, it is generally believed that after the defeat of her family, she was sold by a "cruel uncle and adulterous brother", and happened to meet Grandma Liu, who was rescued by her and married to Ban'er. After losing her family backer, she survived strongly with a "clever" word.
But just "chance encounter" of a good person who has a good ending can only mean that it is good luck, and the ingenuity of creation is not the coincidence of the character himself. The author of "Dream of the Red Chamber" does not arbitrarily name the characters in the book, and will not be arbitrarily assigned to inconspicuous supporting roles, and the "qiao" word of QiaoJie is the key to the big idea of the plot of the novel and the twist of fate of the rise and fall of the Grand View Garden. In the following part of the scattered "Dream of the Red Chamber", Qiao Jie must be a key figure, and her fate is likely to connect many people. But her "cleverness" is "small", not "big clever", only able to use self-protection, she simply does not have the opportunity and strength to turn the tide of the fall and the building has fallen.
Sister Qiao's name is Liu Grandma's name: "This is just right, just call her Qiao Ge'er, this is called the method of 'attacking poison with poison, attacking fire with fire', in the future or for a while, if there is something wrong with it, it must be chengxiang in distress, and it is auspicious to be murdered, but from this "qiao" word." [60] The implication is that if the Jia family does not have an accident, there will be no role for her, and if something big happens to the Jia family, the future fate of the whole family may depend on this "qiao sister", which may be the author's foreshadowing for the next forty times.
As the youngest sister in the "Dream of the Red Chamber" and "Jinling Twelve Chao", the prototype of its historical figure should be the famous Deng Yanzi in the "Pre-Qin Zhuzi". "Lü's Spring and Autumn" commented on Deng Analysis: "Taking the right as the right, thinking that it is right and wrong, and the right and the wrong are unlimited, and it can be changed with the same day." [61] Deng is considered to be the earliest lawyer in China, who contracted lawsuits, misinterpreted the law, and did his best to argue. In the "Xunzi Non-Twelve Sons", Deng Yanzi and Huishi were evaluated: "The lawless king is not a courtesy, but a good ruler, a good way to cure strange words, even to detect but not to benefit, to argue but useless, to be troubled and ineffective, and not to be able to rule the discipline." [62] Sister Qiao and Xiang yun, who represented Huishi, were among the few people with a good ending among the Twelve Nobles, which inferred the author's views on "The King of the Fa xian" and "Li Yi".
Different from the ending of Sister Qiao's life, Deng Yan was killed by the practitioners of the Law for excessive "cleverness" in law, "the child property can not be cursed by Deng Analysis, and has to be punished." [63] The killing of Deng Yanzi belonged to the internal struggle of the Fa family, Deng Yanzi died, but Deng Yanzi's thoughts survived, which was the same as the fate of Sister Qiao, who lived in the folk after the failure of the controversy. In "Dream of the Red Chamber", the image of Grandma Liu is incompatible with the people on the road, especially the "Jinling Twelve Chao" in the Grand View Garden, she is the representative of the low-level people who run for their own interests, and she reveals everywhere that Deng Analytic has no principles, no reverence, and the inferior behavior of mercenary intentions, as for "Li Le" and the like, she and Deng Yan are not in the eyes. Sister Qiao was still young when she experienced the fall of the Jia family, and after living with Grandma Liu for a while, in time, she should be another Grandma Liu.
(11) Jia Yuanchun and ZiSi
Jia Yuanchun in the "Twelve Pieces of Jinling" in "Dream of the Red Chamber", the corresponding archetype of historical figures, should be the Zisi of the early Warring States period. Kong Ling, Zi Si, is Confucius's grandson, the son of Kong Li, a person of the Spring and Autumn Period, a disciple of Confucius who has participated in the Lower Qi Mencius, is the representative of the Confucian "Si Meng School", and is also the key figure of the Confucian "Taoist system" from Confucius in the Spring and Autumn Period to Mencius in the Warring States Period, he inherited the study of Confucius Zhongyong, opened the theory of Mencius's mentality, and thus had a decisive impact on the Song Dynasty, according to legend, "Zhongyong" is the work of Zi Si, and the pre-Qin sons of the "Hundred Schools of Thought" were influenced by it to varying degrees, which is the same as Jia Yuanchun's "Twelve Chao" The status and impact are similar.
Yuan Chun was the eldest daughter of Jia Fu, born on the first day of the first lunar month, hence the name "Yuan Chun"; she ranked third in the main book, second only to Daiyu and Baochao; "Yuan Chun Provincial Relatives" was the reason for the construction of the Grand View Garden; her own status was one of the most important political capitals of the Jia family; and the death of Yuan Chun was the fuse for the decline of the Jia family. As Yuan Chun, who was selected by the royal family as the "Virtuous Concubine", did not appear directly in "Dream of the Red Chamber", but she always influenced the people in Jia Fu and Daguan Garden from afar, such as the seventh "sending palace flowers", her palace flowers are like mirrors, where to send can reflect whose personality traits. For example, Zi Si's idea of "moderation" became the official mainstream ideology in the Song Dynasty, and it also became a measure of personality, including prudence, forgiveness and tolerance, and sincerity. These are all required by Yuan Chun, who is the marriage bond between the Jia family and the royal family. It is hard to imagine what would have happened if the temperament of Yingchun, Xichun or Tanchun would have been married into the royal family. "Moderation" is also the ideological principle of Yuan Chun balancing his own family and the royal family, as well as all aspects of the power in the book. She hopes that through her own checks and balances, her family will be rich and prosperous for generations. Her means are secretly in line with Zi Si's "way of neutralization", and it is also an essential cultivation for her to marry into the royal family.
Zi Sizi has an important position in the Confucian "Taoist" tradition, and is the grandson of Confucius, who is highly valued in the "Xunzi Non-Twelve Sons", and Xunzi is only slightly polite in this article when criticizing him and Meng Ke. Zi Si is a figure who inherits from above and below, and is essentially on the side of the forces represented by Xun Zi that suppress free speech. Yuan Chun also remotely interferes in the Jia family's various major decisions in "Dream of the Red Chamber", such as sending gifts to the people in the Grand View Garden, du du baoyu and Baochao, which is to show his position to his family. It can also be said that she is the decisive driving force behind the tragic ending of the people in the Grand View Garden. Even if it is said that she is a "traitor" in the "Twelve Pieces of Jinling", it is not an exaggeration.
Jia Yuanchun only visited the Grand View Garden when she was a "provincial relative" and usually lived in the imperial palace, which made her an outlier among the twelve, and the only collective poem was not completed under the premise of equal status. Similar to the identity of Zi Sizi, the doctrine of the pre-Qin sons of later generations is difficult to dialogue with on an equal footing.
Yuan Chun's sentence in "Dream of the Red Chamber" is: "In the past twenty years, the right and wrong have been debated, and the durian flowers have blossomed in the palace." Three spring battles and early spring scenes, tigers meet big dreams. [64] This sentence is very controversial, and there has been much research among red scholars throughout the history, and most of them believe that she is a victim of political struggle. Yuan Chun and Zi Si are both "over-consumed" characters, or signboards. Because of YuanChun's identity, the two generations of unproductive successors of Jia Jia, Jia Zhen and Jia Lian dared to unscrupulously blackmail, and this extravagant life was guaranteed by Yuanchun's status in the royal family. Zi Sizi's main work, Zi Si Zi, has died, leaving only Zhongyong, which has not only become the official textbook of the country after the Song and Yuan Dynasties and a compulsory reading for the imperial examination, but also stipulated the paradigm of thinking and behavior of Confucian scholars, becoming an important part of Baoyu's most hated "career economy". The original intentions and views of Yuan Chun and Zi Si themselves are no longer examinable--Yuan Chun lives deep in the palace and is not clear about what his family did under the guise of his own name; Zi Si has long been ancient, and he will not know that his works have been carried to the altar by posterity. In any case, in the face of their eminent reputation, it doesn't matter whether they know or not.
(xii) Jia Tanchun and Meng Ke
The Exploration of Spring in "Dream of the Red Chamber" and "The Twelve Nobles of Jinling", the corresponding archetype of historical figures, should be the successor and pioneer of the Confucian "Taoist system" Mencius. Tanchun is a thousand gold in Jia Province, but it is a Shu out, Mencius and Confucius, ZiGong, and Zisi mentioned in "Non-Twelve Sons" are separated by another layer, the relationship is slightly distant, but it is also a descendant of the Confucian lineage; Tanchun's talent lies mainly in the ability to take care of domestic affairs, her pungent personality, eloquent eloquence and pragmatic qualities are in line with Meng Ke's academic ideas.
In the 56th episode of "Dream of the Red Chamber", "Min Tan Chun Xing Xing Li And Eliminate The Evils", Mencius has: "No rules, no square circles", "Power, then know the weight; degree, and then know the length and short" and other governing concepts and strategies and methods of exploring the spring to govern the family are very similar. Unlike Wang Xifeng's self-interested "power-seeking", Tanchun is adhering to the heart of benevolence to govern the family, she knows how to be considerate and empathetic, and conform to human nature to manage domestic affairs. If it is said that the means of governing the country with prudence represented by Wang Xifeng is "hegemony," then what Tanchun practices is the "royal way." Tanchun tried to turn the tide and relieve the financial crisis of the Jia family by promoting the advantages and eliminating the disadvantages, but this huge family had accumulated a lot of difficulties and finally returned to heaven.
"Dream of the Red Chamber" depicts the rise and fall of a large family, and this huge family is also a true portrayal of a social specimen. Wang Xifeng and Jia Tanchun's method of governing the family is a social practice, and the author is conducting a discussion to express his own views on governing the country. Tanchun's sentence: "Only self-shrewd and self-exalted, born in the last days of the fortune of the partial dissipation." Qingming sent the river to look, a thousand miles of east wind a dream. [65] "The end of the world" is the key word in the lives of Wang Xifeng and Jia Tanchun, whether it is Wang Xifeng, who "all birds come from the end of the world", or Jia Tanchun, who is "born in the end of the world", they adopt any radical, moderate, harsh, or tolerant means to revitalize such a rigid system. In the ancient book "Dream of the Red Chamber", the author only discussed it, and did not give an answer.
Mencius's idealized way of governing the country in the "royal way" and "benevolence" was eventually written in books, but it was abandoned outside the temple. Talented but not born at the right time, he wants to "the first king" and use the "royal way" to save the world, but the general trend of the world has gone irretrievably, which is not the tragedy of Tanchun or Mencius alone. Among the "sons of the pre-Qin Dynasty" who participated in the ideological controversy of the Spring and Autumn Warring States, the ideological concepts of the vast majority of people were either named heretics, or shelved in the cabinet, or exiled to the people and mutated, and eventually they were all drowned in the torrent of political thought of the Qin Dynasty, which integrated the trinity of magic and power, "Don't black and white determine one statue." Jia Tanchun's long-distance marriage is similar to the ending of Miao Yu and Xiang Yun, both of which are the last resorts to go elsewhere to find the value of life after losing the environment in which they can argue.
3. Unfinished Conclusion
Because many of the complex historical and cultural connections between the "Twelve Sons of Jinling" and the "Twelve Sons of the Pre-Qin Dynasty" are metaphorical, it is inevitable that the argument for the relationship between individual characters is a little far-fetched due to the limitations of the broken and broken historical materials that can be seen, that is, limited, but this does not affect the academic significance and value of the original academic preliminary research on the similarities between the two. After all, the "sons of the pre-Qin Dynasty" are all really people in the history of the Spring and Autumn Warring States period, and the "Twelve Pieces of Jinling" are, after all, a novel with a strong emotional color. In the novel "Dream of the Red Chamber", the character description and plot narrative have adopted multiple metaphorical techniques, between true and false and false reality, the so-called "false is true and false, there is nowhere to do anything", many characters and plots have been blurred, given extra-literal information, reserved for future generations of readers to reserve an extremely broad imagination space, which also provides us with almost unlimited possibilities for the study of the characters of "Dream of the Red Chamber". Therefore, any original exploration and interpretation of the text of the great work "Dream of the Red Chamber" from any perspective should be regarded as a reasonable promotion of the development and progress of red studies.
"Dream of the Red Chamber" was created at the time of the Qianlong period of the Qing Dynasty, when the absolute and centralized power of the Chinese monarchy was at its peak, "one husband is strong and ten thousand husbands are soft", social public opinion and cultural creation are all suppressed by politics, the ideological circles pay attention to the "principle of life and righteousness" Song Ming theory has long been subservient to the imperial monarch, even the academic community respects the "exhortation and examination of evidence" Sinology also for the imperial monarch before and after the congratulations, through the examination of the imperial examination and the compilation of the "Four Libraries of the Whole Book", the Qing Dynasty has achieved the "great unification" of ideology and culture. Many texts that did not conform to the mainstream ideology of Qing rule were "banned" in the process of revision. All this is in sharp contrast with the political situation of the princes competing for hegemony and the cultural atmosphere of the hundred schools of thought during the Spring and Autumn And Warring States periods, which also enhances the academic comparability of the "Twelve Sons of Jinling" and the "Twelve Sons of the Pre-Qin Dynasty".
Looking back at the pre-Qin Dynasty, the origin of traditional Chinese culture, the author of "Dream of the Red Chamber" who lived in the Qianlong period of the Qing Dynasty, he must have "longed for the era of academic freedom and freedom of speech of the sons" although he could not reach it. This great literary work expressed its political views and academic ideas in a relatively safe way that was relatively safe at that time, borrowing the words of novelists. The amount of cultural information implied by it is unparalleled in ancient Chinese novels, and the implicit correspondence between the "Twelve Nobles" and the "Twelve Sons" is only one of the corners. And this is precisely the point in which I decided to choose this proposition to write this article and will continue to explore it.
Press: This article is the author's original academic work at the master's degree from 2012 to 2015. It was written in 2013; it was submitted as a postgraduate coursework; and in November 2016, she brought this article to the International Symposium on "New Sub-Science". However, the article was unfortunately plagiarized by other authors in full text, and was preemptively published in the 2016 issue of this journal in February 2016. It is officially published in the name of the original author to be academic audio-visual at home and abroad.
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This article was published in the Journal of Huaqiao University (Philosophy and Social Sciences Edition), No. 3, 2018. Readers who need formal literature reference should consult paper journals or download and read on CNKI.
Dr. Tian not only loves to keep dogs and cats, but also loves to play with a variety of high-end small toys. The one he's holding is called IDW Titan Returns Leader Six-Faced Beast (SIXSHOT).