Did Cao Xueqin write a book in Huangye Village? (ii)

(3) A strange passage from Baoyu's dream in the illusion.

In this passage, some researchers have thought that it is the place where the self-卯 and 庚辰本 are better than the Jia Shu Ben, so they regard it as the author's own rewrite. In fact, if not, we only need to carefully examine the original intention of Xueqin's writing of this plot, and it is not difficult to distinguish which of the two words is right.

Kojimoto: "The police illusion took Baoyu and Keqing to a place", and finally it was Mizu Nakaichi who "sneaked out and pounced straight forward", waking Baoyu up.

Heji and Gengchen Ben: It is "the two of them go out to play hand in hand", until the critical moment, only to see "the police illusion chasing from behind", and finally "many night fork sea ghosts drag Baoyu down" in the mizu.

The difference between the two scripts does not stop there. For a detailed comparison and discussion, see the article "Two Texts of Baoyu's Frightening Dream".

In Xueqin's conception, Baoyu's dreaming illusion is a scene designed by the police illusion fairy to enable him to "understand the Tao with feelings", the police illusion is the director or tour guide from beginning to end, and Baoyu will not and cannot act without permission. Therefore, it is right to write that the police fantasy travels with the two people, and it is not right for the two to travel privately.

At the end, the "monster" symbolizes the terrible and indescribable love of love, "straight to" Baoyu, at this critical juncture, let Baoyu wake up, it is hoped that he can realize early, in order to prevent falling into the mist, so later Baoyu had a "cliff" to become a monk. If he was really dragged down by the "Night Fork Sea Ghost" commonly found in the divine and demonic novels, wouldn't the police illusion warn him in vain? Sleepwalking illusions also lost their meaning.

It can be seen that the different texts on the books of Ji Ji and Gengchen are simply for the pursuit of thrilling plots, completely disregarding and not understanding the author's morals, and making clever changes. If the snow parsley is seen, how can it be recognized.

(4) Those who should not sleep are sleeping, and those who should not wake up should wake up.

The seventh time Zhou Rui's family sent palace flowers, Jia Shu Ben wrote:

Then he came through Sister Feng's place, passed through the middle of the road, passed through the back window of Li Feng, crossed the western flower wall, exited the West Corner Gate, and entered the Courtyard of Sister Feng.

The only words mentioned in Li Feng are "from the back window of Li Feng". Because she was young and widowed, did not wear flowers, and could not have written, here is a sentence in passing, according to the fat criticism, it is only for "taking care of the twelve".

However, after seven words, the Self-Ji Ben and the Gengchen Ben added a sentence out of thin air:

Through the glass window, I saw Li Yi sleeping crookedly on the kang.

This is completely a snake. Regardless of whether Li Feng will sleep during the day on the kang, (the following immediately writes that the Zhou Rui family thinks that Feng Jie is sleeping, and it has already passed the sleep time, it is time to wake up. Sister Feng is not yet suitable for snoozing, not to mention Li Feng, who has accepted the tutor of "spinning performance wells and mortars" since childhood, can she be so lazy? ）

Sleeping without hanging curtains, so that people who pass by can look directly at their sleeping state from the outside, how can Li Feng be so romantic and open?

To say that this is Cao Xueqin's own rewrite, can you believe it?

Then go to Sister Feng. The Kojimoto writes:

Only to see the little girl Feng'er sitting on the sill of Sister Feng's room, seeing zhou Rui's family coming, she hurriedly waved her hand and told her to go to the east house. The Zhou Rui family's meeting was panicked and crept to the east room. I saw that my tits were patting my eldest sister to sleep. Zhou Rui's family quietly asked the tits, "What about Grandma sleeping?" Please wake up too. Tits shook their heads.

Zhou Rui's family only when Sister Feng was sleeping and did not want to be disturbed by others, so the little girl sat on the sill of her room to guard, so there was a saying of "please wake up". She would have thought that Feng Jie and his wife would still have a room play during the day.

He and Gengchen looked away, and even raised their pens to "Grandma sleeps?" Please also wake up the "grandmother" in the sentence to "sister", thinking that this can correspond to the previous sentence "I am patting my eldest sister sleeping".

I really suspect that the changers are idiots.

The eldest sister is a nursing baby, and she has to sleep most of the time during the day, what is the "middle sleep" and late sleep? Why do you want to wake her up and respectfully say "please wake up"? If Xueqin saw such a change, she would laugh to death if she was not angry. Unfortunately, this mistake was transformed into a mistake, but it continued in later books.

There is also zhou rui's family to send flowers to Daiyu:

Aunt Lin, my aunt sent me flowers to wear with the girl.

The characters with complicated strokes that were common in early manuscripts were simplified to other characters, such as "Daiyu" written as "Daiyu". Jia Shu Ben "Dai" do not write "belt", this sentence is, and then such as "leave it for bao yatou belt (dai) and so on, Gengchen Ben did not know whether to write, but added words to change:

Aunt Lin, my aunt sent me flowers and the girl brought them.

It's a real laugh. The list goes on and on.

(5) How many people have been confused by the words "the author is from the clouds"?

Many researchers pay special attention to the "Dream of the Red Chamber", except that the Jia Shu ben is only in the "Ordinary Cases", and all kinds of manuscripts and engravings have a large paragraph at the beginning of the first time, that is, "the first time this (book) is also opened" Yunyun, which is regarded as an extremely important basis for studying Cao Xueqin's life and his creative intentions, because the words "Author Ziyun" are clearly written there.

As I said, there is a fundamental misunderstanding here, that is, "author ziyun" is not a paraphrase of the author by Li Yanzhai, but a kind of idiomatic phrase he uses when interpreting the text of the novel, and it must not be quoted as the author's own words.

The most obvious example is the fifth lipid review of the "twelve newly filled "Dream immortal songs of the Red Chamber", saying:

Point questions. The author of the cover has experienced nothing more than a dream in the Red Chamber.

Obviously, the "author from the cloud" here is an explanation to reveal the meaning of the author's title. Even if this explanation makes sense, it cannot be confused with what the author himself said. Such statements (or the use of "clouding") are still available, and readers can compare themselves.

In short, the "author's self-cloud" in the opening paragraph, if you make up its meaning, it can probably be: the author is telling the reader through his own proposed review...

Is there any basis for such a dramatic explanation of the first look, right?

My view is that some have a basis, some do not, and some are based on misunderstandings, so there are some right interpretations, some are wrong, and some are not necessarily appropriate.

I'll just talk about the problematic ones here:

1. It is said that the author once experienced "the day when the brocade was dressed in fine clothes, the day of sweetness and beauty, the betrayal of the grace of his parents' education, and the virtue of the discipline of his brothers", which is inconsistent with the historical facts; it is also a misunderstanding caused by Duncheng's statement that "Xueqin was woven with his ancestors", which was also caused by not understanding Xueqin's childhood life and only listening to his own vivid and vivid "talking" about the prosperity and prosperity of his family in the past. This has long had the most misleading and impact on readers and researchers.

2. The author said to Li Yanzhai: I wrote "Zhen Shiyin" and "Jia Yu Village" in the first review of the opening volume, which is actually the opening of the book to imply that "the real thing is hidden, and the false language is preserved". Li Yanzhai listened to the last four characters as "false language village dialect", and did not check it clearly, so he confidently wrote it into the "Ordinary Cases" and then wrote it into the criticism, so that it was falsely transmitted for two and a half centuries, and it became an idiom that did not become an idiom. If Snow Parsley had reviewed it, how could it not have been corrected?

3. The words of female Qing men and muddy water, although only from the mouth of the novel character Jia Baoyu, at least reflect the author's cynical attitude and deep sympathy and love for the daughters who are subject to men. So, "He Tangtang's bearded eyebrows, is it true that the macho tone of the other one is dry skirt" is like Xueqin herself? Even if you guess the author's mentality, it is not quite right, right?

4. Saying that in the past, he had lived up to the "education" and "discipline" of the elders, "so that today he has achieved nothing, and the sin of half a life is ruined", saying that Jia Baoyu is OKAY, and saying that Cao Xueqin is in line with the real situation? "No material to make up for the sky" and "unbearable to be selected" is his own indisputable anger? Or is it a family upheaval that objectively cuts off his way to a big career (Qing system: there are repeat offenders within three generations, and they are not allowed to participate in scientific expeditions)?

5. "Ignore all the women of the day", "But there are people in the boudoir who have been in the calendar, and they must not be destroyed because I am not shawn.". Every time I read these words, I wondered: when the Cao family was raided and the family moved north, Xueqin was still in the age of "preschool children", so how could he "think of" the "boudoir" and "all the women of the day"?

Moreover, the "Twelve Nobles" have a great fictitious component, and even the Two Nobles and Daisy are regarded as the author's "magic pens".

6. The "Fan Case" has previously claimed that "this book does not dare to interfere with the imperial court", "Gai Shi does not dare to write about the children's pen to ink the tang dynasty court", and here it is said that "the original intention was to record the girlfriend's feelings of the day, not the book of the time when he complained about the world"; as he told the truth, he was obviously misleading the reader, as a cover for the author, and repeatedly declared that "there is no silver in this place", which is really helping.

I think that if li Yanzhai and other book critics are not faced with only one manuscript for a long time, but can often meet with Xueqin and communicate with each other, I am afraid that many misunderstandings and inappropriate references may be corrected or avoided in time.

(vi) Nothing was done waiting for the author to do.

There are also some comments waiting for Xueqin to delete or divide back, but they have also been retained, and there is no reaction.

For example, the thirteenth batch of "set up another altar in TianxiangLou" sentence said:

Delete! It is an uncut pen.

Judging from the imperative tone, it can be seen that it is a deformity that has the authority of the author.

He "ordered Qinxi to delete" the plot of "Qin Keqing's Obscene Funeral of Tianxiang Lou", but when writing the memorial scene, he also said that "another altar was set up in Tianxiang Lou" to "confess" the truth, and naturally thought that it had not been deleted.

But the criticism and the main text have remained the same.

After the twenty-second criticism of the spring lantern riddle, the tail broke and said:

After that, it was broken and made up for.

This time did not (make up) and Qin passed away, sigh! - Ding Haixia, Teratical Wat.

This proves that before Xueqin's death, she did not start to do the repair work of the novel, otherwise, how difficult is it to complete this small "broken" ending (and write it herself)?

The seventeenth and eighteenth times are not divided, it is a long time, and the nineteenth time is eyeless. Before the return of the long time, the general comments of the self-proclaimed and gengchen ben said:

This return should be divided into two parts.

The author did not separate or re-itemize before his death, and the books after the Gengchen Ben divided this long return into two, which was divided by later generations, so different books, the division method is not consistent, and the review is also different.

Seventy-fifth general batch:

Qianlong Twenty-first Year (1756) may the seventh day of the first month of the Qing Dynasty. Missing Mid-Autumn Poetry, Qi Xueqin.

From the time of the Qing Dynasty and the addition of this batch, to the death of Xueqin (1764), it waited for eight years, and did not wait.

To tell a joke, it is almost like Cao Xueqin was transferred to work abroad.

In the early 1980s, Mei Jiejie wrote an article entitled "Cao Xueqin's Relationship with Fat Yanzhai", which discussed Xueqin's estrangement from Fat Yanzhai in her later years and her indifference to "Dream of the Red Chamber", and suspected that the two were "some kind of employment relationship".

I dare not make such a bold inference, thinking that Xueqin is not so indifferent to the books he has spent so much effort on, indifferent, but for reasons that ordinary people often have.

In her later years, Xueqin lived alone in a deserted mountain village where "lonely people from the western suburbs went to Han" (Zhang Yiquan's poem), and she had to work for the livelihood of her wife and children's family, and it was inconvenient to interact with Li Yanzhai and others; in particular, the manuscript had long been written and handed over, and it was necessary to wait for Li Yanzhai and others to preliminarily sort out and transcribe the whole book and return it to him before doing the work of filling in the gaps and making corrections and revisions.

However, the finisher has not returned the manuscript, mainly because after eighty times, there are intermittent "five or six manuscripts lost by the borrower", which cannot continue to be copied out, and it is not easy to explain to Xueqin.

They are likely to be vague and fail to clarify the matter to the author, emphasizing the gravity and urgency of the matter.

Or even if Xueqin knew, she would inevitably wait for the lost manuscript to be retrieved, and she would have the mood to start rewriting it immediately. For a person who is only in his thirties, he will not feel the seriousness and urgency of things, and is it not natural to feel that he has come to Japan for a long time? Who would have thought that this would be the last journey of Xueqin's short life?

In short, I think that the relationship between snow parsley and li Yan is not so bad.

However, there is one point in Mei Jiejie's statement that we have a consensus, and there is no doubt at all, that is, Cao Xueqin did not write or read "Dream of the Red Chamber" in her later years.