Literary Aesthetic Experience and Sharing (4)

小说的环境（背景） Setting of Fiction

Watching family trivia, tasting boudoir leisure, reading poetry and riddles

Novel appreciation is one of the most common and basic forms of literary criticism. Literary criticism is generally empirical, speculative, and aesthetic, and the specific manifestation of literary criticism is the social and historical investigation and aesthetic investigation of literary works. This kind of investigation is not only a combination of abstract thinking and artistic thinking, but also a unity of social and aesthetic criticism (1). Because no literary work can be separated from the social attributes of the author, the social attributes of the content of the work, and the influence of literature on society (2). In view of this, it is necessary to include "environment (or setting)" as one of the important contents of reading and appreciating novels.

The setting is the materialized setting and place element of the story (3). When we talk about the environment (or setting) of the novel, in addition to the "materialized" natural environment, it generally includes the dematerialized social environment, that is, the background of the times.

The so-called natural environment includes natural landscapes such as mountains, rivers, grasses, insects, fish, birds and beasts, wind, flowers, snow and moons, which constitute the natural background of the characters' activities and create a specific atmosphere in which the story of the novel takes place. It not only exists as the spatial scope of the characters' activities, but also harmonizes with the changes in the characters' psychological emotions and organically unifies with the linkage development of the storyline. The natural environment is the nature of the characters in the novel, the visual embodiment of the style of the work, and the natural manifestation of the author's aesthetic pursuit.

The so-called social environment is the background of the times, which is the sum of the social relations, cultural attributes, folk customs and the background of the times in which the stories are produced. These social, cultural, and ethnic elements provide a complete and detailed picture of life for the reader's literary aesthetics, mark a profound social imprint for the characters of the novel, and create a grand and profound background for the storyline of the novel.

The novel takes the portrayal of characters as the main means, and artistically reproduces social life and expresses the author's aesthetic pursuit by creating a moving and interesting storyline. Characters and plots are indispensable core elements for the novel to reflect the author's aesthetic pursuit, and the environment (or background) is the necessary material element or historical background for the reproduction of social life in the art of fiction. The natural environment and social environment of the novel are the aestheticized counterparts of the author's real life, and they all have one or another relationship with the characters of the novel, rather than an isolated objective existence. The direct presentation of the environment (or background) of the novel in the text is the description of the natural environment, the description of the social environment, and the description of the scene.

The description of the natural environment is the description of the location, season, climate, season, natural scenery and scenes of the characters' activities. It has the role of explaining the time and place of the story, setting off the mood of the characters, promoting the development of the storyline, and highlighting and highlighting the center.

The description of the social environment generally refers to the explanation and description of the social background, the atmosphere of the times, and the regional style. It has the functions of explaining the background of the era in which the story takes place, highlighting the social attributes of the characters, and highlighting the epochal nature of the theme.

Scene description is an integrated description of the natural environment and social environment, and it is an organic combination of natural landscape and life scenes. It is a description of the scene of social life that takes place at a certain time and place, and is composed of certain people and activities. It mainly reflects the face of society and various aspects of life, and reproduces macro natural and social phenomena. Time, space, characters, and human activities are the basic elements that make up the depiction of a scene.

The depiction of the environment, especially the depiction of the scene, is one of the fascinating attractions of Dream of Red Mansions. The scene descriptions of the 120 episodes of "Dream of Red Mansions" can be roughly divided into four categories: the fairyland of dreams, the scenes of family life, the grand view of the red mansion in the boudoir, and the scenery of poetry and painting. These scene descriptions are wonderful and interesting. It is dazzling and has an endless aftertaste. The following is a summary of the classification.

1. The most puzzling and thought-provoking scene descriptions are too illusory and all kinds of dreams.

For example, the illusory realm described at the beginning of the first chapter is "under the nonsensical cliffs and green ridges of the Great Wilderness Mountain". It is divided into two acts, one scene is: a monk and a spirit stone, sitting on the ground to talk about the red dust, and the other scene is: Brother Shi, a man of the empty road, talking about the color of emptiness. The depiction of the realm of the heavenly realm is not exhausted, and it turns like a dream on earth, and the author carefully created the first dream of "Dream of Red Mansions", that is, "Zhen Shiyin's dream and psychic". In the dream, a monk and a scholar are hidden, and they talk about the public case, and the bead grass on the side of the Sansheng stone is exposed by the rain of the king. The author uses a mirage scene and two scenes, plus a dream of three lives, to create a four-dimensional space for the entire story of the Red Chamber that exaggerates the red dust and the heavenly realm, travels through the past and present lives and the next life, indistinguishes the real from the illusory, and contains the ideas of Confucianism, Buddhism and Taoism. In addition to the illusory realm, the dream of the Red Chamber, the calendar is countable, preliminary statistics, 120 times of "Dream of Red Mansions", the author created 32 dreams of all sizes, good and evil, starting with "Zhen Shiyin's Dream of Psychic" and ending with "Jia Yucun Returns to Dream of Red Mansions", during which Jia Baoyu had ten spring dreams (see 5th, 13th, 32nd, 34th, 36th, 56th, 57th, 77th, 98th, 116th times), Wang Xifeng had six strange dreams (see 13th, 72nd, 101st, 113th, 114th times), Lin Daiyu had two nightmares (see chapters 82 and 89), in addition, Jia Rui, Qin Zhong, Mingyan, Lin Xiaohong, Xiangling, Shi Xiangyun, Liu Xianglian, You Erjie, Miaoyu, Ping'er, Zhen Baoyu, and Hua Xiren each had a dream. These descriptions of the scenes, which are both real and illusory, virtual and real, not only explain the time, place, background, and origin of the story, but also introduce the characteristic characters of Buddhism, monks, Taoist immortals, poor Confucians, etc., which not only create a mysterious, romantic, legendary, and mysterious atmosphere for the story of the Red Mansion, but also contain the author's aesthetic pursuit and value orientation in the names of people, places, the relationship between people, and the relationship between people and things, and contain the creator's rich and profound, complex and novel ideas.

2. The most tiresome and soul-stirring scene is the scene of life in a secular family. This is also the main part of the story of the Red Chamber, and the scenes of family life described in "Dream of Red Mansions" are roughly as follows.

First, holiday gatherings. Especially in the "35 gathering", that is, the Lantern Festival and the Mid-Autumn Festival. There are many wonderful descriptions. For example, the opening chapter of the first chapter describes three scenes: on the night of the Mid-Autumn Festival on August 15, Zhen Shiyin met the poor Confucian Jiayu Village under the moon, the scene of Zhen Yinglian's loss during the Lantern Festival on the fifteenth day of the first lunar month, and the scene of the burning of the gourd temple on the birthday of Zhao Gongming, the god of wealth on March 15 (also one of the ten fasting days of Buddhism) - Renqing Lane, Shili Street, outside the Changmen Gate of Gusu City, the little monk of the gourd temple fried tributes and caused a fire, and the wishes of the wealth became "a pile of rubble field". In the first chapter of the opening chapter, the three scenes of the 35th day set a very contemporary life background for the secular story of the Red Mansion. For another example, the 18th chapter describes the "Yuan Concubine Provincial Parents" of the Lantern Festival on the 15th day of the first lunar month, and the 76th chapter also describes a "15th Night" Tubitang appreciating the gui and pinting the flute sound. The same is the night of the third and fifth days, all of which are reproduction of the scenes of family life in Jiafu, but one is the provincial relatives of the Lantern Festival on the fifteenth day of the first lunar month, the emperor's grace is heavy, and the provincial concubines are profound, reflecting the dignity and prosperity of Jiafu; Separated by nearly 60 times, looking at each other before and after, reflecting each other, the scene description contains the gathering and dispersion, joys and sorrows, and the rise and fall.

Second, the birthday party. There are as many as six descriptions of the birthday party in Jiafu. From the 11th "Birthday Celebration Banquet Ningfu Pai Family Banquet" to celebrate Jia Jing's birthday banquet, to the 108th "Qiang Huan Yan Wu Birthday Celebration" ended with Xue Baochai's birthday one day earlier, and four birthday banquets were also described during the period. The first time was the 22nd time, Jia's mother donated money to celebrate Baochai's first birthday (fifteenth birthday), which is evocative of the scene of joking and laughing when listening to the play. The second time was the 43rd and 44th birthday of Sister Feng. Jia's mother came up with an idea, everyone got together, and You Shi came to handle it, this is the most failed, the most sorrowful, and the most disgusting birthday farce in "Dream of Red Mansions", the worst of which is the scene where the birthday star Sister Feng met her husband Jia Lian and cheated on her, and the subsequent domestic violence farce. The third time is the 62nd and 63rd Baoyu's birthday, and it is also the most youthful birthday banquet in "Dream of Red Mansions". First, describe the daytime scene. While narrating the coincidence of birthdays with twists and turns (Jia Baoyu, Xue Baoqin, Ping'er, and Xing Xiuyan have the same birthday), one will describe the four worshipping each other, and the other will describe the drinking order. Then, the scene of the night banquet in Yihong Courtyard is described in a chic way. It focuses on describing the crowd's drawing of lots, appreciating flowers, joking about life, and predicting fate; The delicate scene description not only explains the apricot blossom lord of spring, the peach blossom in spring, Daiyu is hibiscus, Baochai is peony, and the musk moon is a flower, but also metaphorizes the fate of all women, and the flowers are red. The fourth time is the 71st anniversary of Jiamu's octogenarian celebration. The birthday is the third day of the eighth month, but it is written from July 27 to the fifth day of the first month of August, after outlining the extreme extravagance and prosperity of Jia's mother's birthday, focusing on describing the birthday banquet, listening to the opera, and visiting the garden on July 28, and close-up the meeting and praise scenes of the four girls such as Concubine Nan'an and Tanchun, and then swaying the pen and ink again on the scene of listening to the opera the next day, deliberately describing Mrs. Xing's plea, focusing on describing Wang Xifeng's shame, anger, and shame, purple face, gray heart, and tears. These scene descriptions seem to reproduce the luxury of Jia's mother's 80th birthday and the triviality of family life, but in fact, through a set of several continuously related close-ups, they reproduce the multiple and deep-seated family conflicts and conflicts of interest in Jiafu.

Throughout these six scenes of different characters' birthdays, they either highlight the characters' personalities, or trigger the development of the plot, or explain the social environment and life background to metaphorize, emphasize, and deepen the thoughts and emotions of the novel. The living Venerable Jia Jing of Ning Guofu celebrated his birthday, but he was actually absent as a birthday star, and he went away with alchemy, which was funny and absurd. Jiafu held two grand birthday parties for Baochai, which alluded to the theory of good fate of gold and jade, and also ironically retorted Baochai's solitary boudoir after Baoyu became a monk. Sister Feng's birthday farce hints at the imminent and inevitable emotional crisis, family tragedy, and life difficulties of the shrewd and capable Sister Feng. Baoyu's birthday, Qunfang's night banquet, wine order, and flower drawing hints at the fate of the daughters, and the sadness of Qinfang. Jia's mother's birthday is pompous, focusing on Wang Xifeng's tears of shame, and using the contradictions and conflicts between Wang Xifeng, her mother-in-law, Mrs. Xing, and the minions to conceal the decline and ruin of Jiafu, implying that external strife is born from within, and the disaster originates from Xiao Wall.

Third, the funeral. The most representative and intriguing is the funeral of Qin Keqing described in chapters 13-15. The three meaningful scene descriptions of the resting spirit, the funeral and the road sacrifice are extremely laid out and rendered, meticulous, showing the dignity and prominence of Ning Guofu, and its luxury, grandeur and vastness are all shocking. It is also worth reading and discussing the 63rd chapter, Jia Jing's "Bintian". The author describes in detail the funeral scene of Jia Zhen's father and son galloping back in the starry night, changing horses and galloping, and the playful scene of Jia Rong returning home to meet the two aunts of Second Sister You and Third Sister You. There is also the 95th episode that describes the scene of the death of the Yuan Concubine. A few strokes, the hollow valley echoes. "Seeing that Concubine Yuan was salivating and couldn't speak, when she saw Mother Jia, she only had a sad cry, but no tears...... When he was young, Jia Zheng and other positions progressed, and the palace concubines passed on, but the concubine ignored them, and gradually her face changed...... After a few moments, the little eunuch came out and said: 'Jia Niangniang has passed away'". The last description of the funeral is the 110th episode of "Shi Taijun's life returns to the underworld". The author deliberately described the scene of the eighty-three-year-old Jia's mother holding Jia Baoyu and Jia Lan before her death, calling Wang Xifeng. The concern for his grandson Jia Baoyu and his expectations for his great-grandson Jia Lan are beyond words. Although Wang Xifeng's tactful persuasion is understandable, but Wang Xifeng's deathbed assignment to copy the "Diamond Sutra" and give it away "should have been given long ago", which is quite meaningful, and its implicit thoughts and emotions, outlook on life, and cognitive outlook require readers to taste and chew slowly.

Fourth, clan sacrifices. In the description of many religious and sacrificial activities in "Dream of Red Mansions", such as the incense dipped in the Tiejian Temple, the water moon nunnery asking for signs, and the leper monk casting the spell, etc., the patriarchal system of the patriarchal society is reproduced everywhere, and the etiquette culture of rural China is full of strong family characteristics. The author describes the 53rd Jiafu sacrifice - Ningguo Mansion Chinese New Year's Eve Sacrifice Ancestral Hall. The clan sacrifice on Chinese New Year's Eve can be described as cumbersome and complex, solemn and solemn, savoring this realistic scene description, as if allowing the reader to experience the influence of the patriarchal ritual rule of the family of the poetry and hairpin; the pattern and scale of the ancestral hall, the richness and diversity of the sacrifices, the organization and process of the sacrifice, the division of labor and cooperation of family members, and the attitude of manners, reflect the ritual system of the family of Zhongming Ding Food House and the family of the family of the poetry and hairpin, and reproduce the clan cultural characteristics of the state of civilization and etiquette and the prosperous domain of prosperity. Watching this solemn and solemn, grand and grand scene of clan sacrifice will make the audience and spectators feel the prosperity and extravagance of the family of the gate lord, and when they feel the prosperity and extravagance of the family of the gate lord, they will be in awe, remember and remember, and be in awe, and accept the baptism of the soul.

These pictures of the trivial and complicated life of the meritorious family, and the touching life scenes of the secular society, are like the waves of the sea, rolling into the future, rushing away, wave after wave, wave after wave. It's hard to describe, it's hard to say, it's hard to describe. Even if the three springs are seen through, looking for the light sky and harmony, keeping the green lantern alone, and surviving the autumn, Jia Xichun, the fourth girl of the "Immortal Nursery" who is good at painting, is faced with the characters who come and go, and the fickle scenes, it is difficult to be calm, difficult to meditate, and it is difficult to paint all the paintings.

3. The most interesting and depressive scene description is the spectacle of the skirt hairpin woman in the boudoir.

The picture scroll of the Grand View Garden composed of these tortoiseshell Emei skirts and beautiful shadows is based on Jia Baoyu's perverse foolishness and infatuation, with the boudoir life trajectory of the twelve hairpins of Jinling as the serpentine, and the entangled Lingluo shirt of the woman in the sub-book and the sub-book as the gray line. Although Yanye is full of paper, there is not the slightest hint of vulgarity and obscenity;

The author depicts the scene of the twelve hairpins of Jinling gathering and scattering sorrows and joys, showing the obscene and chaste and quiet attitude of the maids, with a variety of brushstrokes, showing the wisdom of the mother. Sometimes there are two prongs, for example, in the 27th chapter, on the one hand, Xue Baochai is written, and the joyful scene of the colorful butterflies in the Dicui Pavilion is written, and on the other side, Lin Daiyu is written, and the sad scene of burying incense mounds and crying red. In the 21st episode, while writing about flowers attacking people, coquettish and disgusting Zhenbaoyu, while writing Ping'er, softly saving Jia Lian. There is also the 62nd episode, writing Shi Xiangyun, drunk and sleeping peony Yin, writing Xiangling, and understanding the pomegranate skirt. Sometimes the pen points to one end, the flower blooms in one place, and the close-up of a person. For example, in the 31st episode, write Qingwen and tear the fan to make a smile. In the 48th episode, Xiangling was written, and Mu Ya Nuya collected bitter poems. In the 50th episode, he wrote Xing Xiuyan, and Lu Xueting fought for instant poems. In the 51st episode, he wrote Xue Baoqin and compiled a new nostalgic poem. Sometimes it's a multi-pronged approach. For example, in the 59th chapter, Ying'er, Chunyan and Lotus Root are written, the willow leaves are on the side of the warbler and the swallow, and the Jiangyun Xuan summons the flying charm. In the 60th chapter, Fang Guan, Lotus Root Official, Rui Guan and Gui Guan were written as four junior officials playing Aunt Zhao.

The description of every boudoir scene can be said to be hidden and insightful, positive and intercalary, baking clouds and supporting the moon, and the reflection is distinct. For example, in the 63rd chapter, it was written that Yihong Courtyard had a night banquet, highlighting peony (Baochai) and hibiscus (Daiyu). In the 74th episode, the Grand View Garden was copied and inspected, and several scenes were depicted colorfully, writing Qingwen lifting the box and shouting angrily, the grievances of the painting, the private feelings of Si Qi, and the praise is still the spring exploration. The sudden loud slap, with a "snap", slapped Baoshan's daughter-in-law, and the beating was amazing and applauding. In the 76th chapter, the scene of the couplet of Daiyu, Xiangyun and Miaoyu is written, the couplet poem of the Concave Crystal Pavilion is sad and lonely, and the Eriya Yan of Cui Huian continues to be elegant, which is the so-called three beauties. In the 77th episode, the reflection is distinct. It depicts Jia Baoyu's private visit to the critically ill Qingwen, touching the heavens and crying, and the pretty maids hugging the concubines; The two successive partings are all regrettable. In the 81st episode, a fishing scene is depicted. Writing Tanchun, Xiuyan, Li Qi, Li Wen, the four beauties have caught swimming fish, baking clouds and supporting the moon, setting off Jia Baoyu's acute child, the rod is broken, and nothing is accomplished. In the 91st episode, there are positive and intercalary, slightly obscene and obscene. Describe Bao Chan and Jin Gui, indulge in the design of the heart work, and talk about Zen in vain.

Every scene of parting between skirts and hairpins is just like the spring and autumn period, and the many songs of historians. The author has two intentions, and the reader should be one-minded. The author believes that the most cruel and shocking is the 97th episode, which describes Lin Daiyu's love and Xue Baochai's low-eyebrow marriage, one burns the manuscript to break the infatuation, and the other goes out of the boudoir into a big gift. The most unforgettable thing is the 98th episode, the soul of the bitter pearl returns to the hated sky, and the sick god Ying tears lovesickly. The two calls and half sentences left by Daiyu "Baoyu, Baoyu, hello......" resounded with love and hatred, making people cry. The saddest and lamentable is the 103rd chapter, which describes Xia Jingui and self-immolation by poisoning. The most poignant and inexplicable is the 112th episode, in which Miaogu was robbed, describing the scene of Miaoyu's robbery. The most sorrowful and pitiful is the 115th chapter, which is confused and selfish, and describes that cherishing spring in Ningguo Mansion brought out a family as a nun and kept the green lantern alone.

In the last 40 episodes, there are two scenes about Jia Baoyu that are worth tasting. One is the 119th scene, when Jia Baoyu leaves Jiafu. Before the scientific expedition, everyone saw them off, Baoyu said goodbye to his family, looked up and laughed: "Go, go...... It's over," leaving a crazy proverb, hee-huh, "and go out from now on." The other scene is the 120th episode, Wen Miaozhen (Jia Baoyu) and Jia Zheng knelt down to say goodbye without a word: a person in the faint snow shadow, bareheaded and barefoot, wearing a cloak of red gorilla felt, bowed down to Jia Zheng...... Drifted ashore. It fulfilled what [the birds threw themselves into]: "He who sees through escapes into the empty door, and he who is obsessed loses his life." It's like eating all the birds and throwing them into the forest, and the white land is really clean. ”

Fourth, the most beautiful but incomprehensible and reverie scene description is the scenery depicted by poetry and riddles.

Artistic conception is the artistic realm formed by the integration of the life picture depicted in literary and artistic works and the thoughts and emotions expressed. Sense of picture and emotion are the two basic elements that are indispensable for the composition of artistic conception. In Dream of Red Mansions, the author writes a large number of poems from different perspectives and in different styles. These poems not only depict scenes of life full of interest, but also contain the author's rich and peculiar thoughts and emotions.

For example, in the 5th episode of "The Twelve Hairpins of Jinling", there are 2 judgments in the sub-volume, 1 in the sub-volume, 11 in the main album, and 14 in "Dream of Red Mansions", with a total of 28 lyrics and songs. It involves Qingwen, Xianren, Xiangling, Xue Baochai, Lin Daiyu, Jia Yuanchun, Jia Tanchun, Shi Xiangyun, Miaoyu, Jia Yingchun, Jia Xichun, Wang Xifeng, Sister Qiao, Li Kun, Qin Keqing, and fifteen women in skirts. These sentences and fairy songs, with vivid images and rich meanings, and specific and intriguing scenes, describe their colorful lives, and convey their different life experiences and endings. It is a spectacle, a riddle, and a general outline.

What is even more meaningful is the large number of poems and riddles created by the author from the perspective of typical characters, and the words and ballads. The poems and songs written by Lin Daiyu have a poignant artistic conception, quite a depressive atmosphere, and are different. For example, in the 27th chapter, he wrote "Funeral Flower Yin", in the 45th chapter of "Farewell to the Generation", in the 64th chapter of "Five Beautiful Yin", and in the 70th chapter of "Peach Blossom Xing" and "Tang Duoling", which were written to reopen the Peach Blossom Society. Among them, "Funeral Flower Yin", "Farewell to the Generation" and "Peach Blossom Walk" are the most representative, which are the portrayal of Lin Daiyu's life and the swan song of life.

The poems written by Jia Baoyu are right, realistic and romantic, full of pictorial poetry, and almost full of proverbial interest. For example, in the 17th chapter, the inscription of the "Provincial Family Courtyard" (Grand View Garden) is full of poetry and meaning. In the 23rd episode, he wrote four poems after entering the Grand View Garden, depicting the life scenes and tastes of the four seasons of spring, summer, autumn and winter. And in the 78th episode, "Furong Daughter" was made for Qingwen. It is the author's collection of the techniques of Sao style poetry and the language form of Han Fu, starting from Qingwen's grievances, which not only fully demonstrates Jia Baoyu's talent, but also embodies the author's observation and thinking about nature, society, and life, as well as indescribable complex emotions and attitudes.

There are also poems and riddles written by the sisters, which are vivid and vivid, timeless and elegant, and full of life interest. In the 18th round, the provincial concubine invited the sisters to inscribe 11 poems of "Daguanyuan Inscription Rhyme". In the 37th episode, six poems of "Song of Begonia" written by the Begonia Poetry Society. In the 38th Shi Xiangyun Society, the members wrote 12 songs of "Yongdai". The 45th bitter bard girl Xiangling learned to make three "Moon Poems". In the 50th chapter, Xing Xiuyan, Li Wen, and Xue Baoqin wrote three "Yongmei". The 52nd Xue Xiaomei's ten "New Nostalgic Poems". After Lin Daiyu reopened the Peach Blossom Society in the 70th episode, Shi Xiangyun wrote "Like a Dream Order", Xue Baoqin wrote "Xijiang Moon", and Xue Baochai wrote "Linjiang Immortal". In the 76th chapter, Lin Daiyu, Shi Xiangyun and Miaoyu concave crystal pavilion couplet sentence 35 rhymes. The 94th Jia Baoyu, Jia Huan, Jia Lan wrote three poems of "Appreciating Demon Flowers" and so on. These poetic riddles that run through the text are an important part of Dream of Red Mansions, which is either narrated in poetry, conveyed love through poetry, written about people in poetry, expressed in poetry, or "proverbials" in poetry. Those typical images are vivid and impressive, beautiful artistic conceptions, long meanings, rich scenes, touching people's souls. These images and artistic conceptions are not only carriers for conveying feelings, but also often the answers to "proverbs". Poetry has the expressive function of "proverbs", which is one of the more significant linguistic features of Dream of Red Mansions.

Articles are written for the time, and songs and poems are written for the sake of things. Cao Xueqin's creation of "Dream of Red Mansions" is obviously also "written for the times". It is not only to tell about the exhaustion, the dispersion, and the defeat of the family for the era in which they live, but also to observe, think, and predict for the era in which we live. When the creator tells the story of the Red Mansion, he writes a lot of poems, which must also be "written for the sake of things". Not only because Jia Baoyu has a sister Bao in front of him, Lin Daiyu in his heart, and a group of skirts beside him, but also because of the appearance of Zhen Baoyu, the ups and downs of Jia Yucun, and Zhen Shiyin's retreat.

On October 14, 2020, it was obtained in Pine Garden

(1) See Principles of Literary Criticism (edited by Wang Xianpei, Central China Normal University Press, July 1999, first edition) 0.1 The Nature of Literary Criticism, pp. 2-6.

(2) See "Principles of Literary Criticism" (edited by Wang Xianpei, Central China Normal University Press, July 1999, first edition) 3.1.5 The necessity and inevitability of social and historical criticism, page 78.

(3) See "Novel Appreciation" (Bilingual Revised Third Edition, edited by C. Brooks and R.P. Warren, translated by Zhu Wan et al., World Book Publishing Company Beijing, October 2012, 3rd edition), p. 708.

Important Notes:

1. Exploration and guidance on reading "Dream of Red Mansions" in the whole book, serialized in the second stage, up to the 80th chapter. The next 40 episodes are related to copyright issues, and the release time is to be determined.

2. Literary aesthetic experience and appreciation, up to the fourth part, that is, the environment and scene appreciation of the novel. The follow-up will be released together with the serialization.