@秦楚刊号
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Introduction: If there is a set of puzzles of China's provinces, no matter how they are disrupted, people can still put together a complete map of China. However, if you mix some of the puzzles of China's provinces with some of the puzzles of foreign countries, no matter how you put them together, you will not be able to put together a complete map of China. Rationality cannot be built on the basis of innate irrationality, which can be the breaking and alteration of rationality. The same is true of space systems, which are not built on top of irrationality. From the perspective of space, this paper attempts to analyze the manuscript and the script, which comes first, which comes later, and who changes to whom.
In several online articles, such as "The Subordination of the 28th Chapter of the Dream of Red Mansions from the Perspective of the Space System", "The Rewriting of the Dream of the Red Chamber from the Spatial System - Starting from the 69th Chapter", "The Spatial System to which the 73rd Chapter Belongs from the "Neighboring Garden Wall"", "Reflections Triggered by Aunt Xue's Two Different Birthdays in Spring and Summer", and "A Strange Essay in the 56th Chapter of the Dream of the Red Chamber", the author analyzes the existence of two spatial systems in The Dream of Red Mansions with the schematic diagram of the character "Bu".
These two spatial systems are: the spatial system of the Jincheng manuscript and the spatial system of the rest of the manuscripts (the latter is called the spatial system of the manuscript for convenience). Literary sentences are tied around the space, and it is meaningful to understand the relationship between the spaces and the judgment of literary sentences.
1. The rationality of the two spatial systems
1. A brief description of the two types of space systems
In the space system of Jin Chengben, the Grand View Garden is the outer garden between the east of the Rong Mansion and the Ning Rong Mansion, and the main gate of the Grand View Garden is a "East Second Gate" in the east of the Rong Mansion, and the door is guarded by a small servant; Lixiang Courtyard is in the "southeast corner" of the Rongguo Mansion; the Xue Mansion is not in the Rong Mansion Inner House, if you want to go from the Xue Mansion to the Rong Mansion Inner House, you need to pass through the Grand View Garden; the regulation is that the small maid can enter the Grand View Garden. Tiaoxi Yuyin's drawings are based on the spatial system of Jin Chengben, while the author draws the two spatial systems separately (see "Zhen Daoyuan's Dream of Red Mansions Notes").
In the spatial system of the manuscript, the Grand View Garden is the back garden in the inner house of the Rong Mansion, and the gate of the Grand View Garden is a three-gate of the Rong Mansion, and the mother-in-law is on duty on the door; the Lixiang Courtyard is in the "northeast corner" of the Rongguo Mansion, and the Xue Mansion is in the inner house of the Rong Mansion. Yang Naiji, Song Hongwen, Dai Zhiang, Ge Zhen, Guan Huashan, Zeng Baoquan, Xu Gongshi, Dai Bufan, Zhang Lianggao, Tong Liqun, Meng Qingtian, Li Yanfang, Huang Yunhao, Yu Peiliang, and Xu Jianping drew the figures using the spatial system of the manuscript.
2. The status of the two space systems
Analyze these two spatial systems:
First, the spatial system of the Jin Cheng book is basically rational, while the spatial system of the manuscript is chaotic and contradictory.
Second, the expression of the spatial system of the Jin Cheng version is basically consistent with the text between the lines, while the expression of the spatial system of the manuscript is mostly in conflict with the text between the lines.
Third, the text between the lines of the manuscript does not fit the spatial system of the manuscript, but it coincides with the spatial system of the Jin Cheng version.
Based on this situation, we can conclude that the spatial system of the Jincheng manuscript is basically rational, while the spatial system of the manuscript is irrational. The spatial system of the rational Jincheng text cannot be established on the spatial system of the irrational manuscript, and the spatial system of the irrational manuscript can be the fragmentation and alteration of the spatial system of the rational Jincheng version.
2. Rational analysis of the two spatial systems
1. The concept of the order in which the book is written
There are two concepts of the sequence of the book: one is the sequence of the concept of time, and the other is the sequence of the concept of logic.
In terms of time, Cheng Ben should be a book that Cao Xueqin added and deleted in the later period. Analyzing the plagiarism market in the Cheng Weiyuan period, its popular mainstream book and road goods should be restricted by two factors:
First, political factors. During the Cheng Weiyuan period, "Dream of Red Mansions" was openly copied and openly bought and sold in the temple market. During this period, the mainstream books on the market should have been added, deleted and rewritten by Cao Xueqin, filtering out the books full of themes and obstructions. It won't be a "non-heirloom novel" that Hongyun doesn't dare to read and obstructs speech.
Regarding the "non-heirloom novel" mentioned by Hongyi, Zhou Ruchang explained that it was a novel that had not appeared before, and it was intended to be pioneered by Cao Xueqin. However, the author believes that it should be interpreted as a novel that cannot be made public to the world, but is secretly transmitted. In other words, novels that can't see the sun. It is unlikely that Cheng Weiyuan will collect this kind of "underground" book in the copying market, which is a constraint of political factors.
In other words, the book collected by Cheng Weiyuan, which was later called Cheng Ben, should have been added and deleted by Cao Xueqin five times, filtering out politically charged themes and obstructions, and becoming a work that was publicly copied and sold.
Second, market factors. It can become a mainstream book in the copying market.,Not only is Cao Xueqin's addition and deletion filtered.,It should also be Cao Xueqin's book in the later stage.。 And those half-baked books in the early stage of addition and deletion,Will be eliminated by the market,This is the role of the market mechanism。 Even if an earlier book occasionally appears.,The copyist will add "wedges" and so on.,Suddenly it looks like a complete appearance.。 This is the "packaging" required by the market mechanism.
In a nutshell, the manuscript of Cheng's movable type, as well as the manuscript of some woodcut manuscripts, should be the "brother texts" that were disseminated in parallel in the copying market, that is, the "originals" of Cheng Gao's so-called extensive gathering. These are books that reflect Cao Xueqin's "final meaning", or books that are later in time.
Logically speaking, the "inverted Y-shaped" branches have a horizontal relationship, and there is no mutual interference between the horizontals. Each branch has different trade-offs and changes to the common upstream.
Then, those with a smaller degree of change and closer to the common upstream can also be regarded as an earlier text, while those with a greater degree of change and farther away from the common upstream can be regarded as a later text. This is a concept that has nothing to do with pure time.
According to this analysis, the Cheng version, especially the Cheng Yi version, not only inherited the earlier texts that were close to the common upstream, for example, the text of "Ruizhu" that was renamed and attacked was earlier than the text of "Pearl" in the manuscript, and the text of the three Wang brothers containing "Wang Zisheng" was earlier than the text of the two brothers in the manuscript, and Cao Xueqin added, deleted and rewrote the later texts, such as the servant who claimed to be in front of his master from the "small" in the manuscript to "slave", and the marriage of many mudworms was changed from "since childhood" in the manuscript to the deletion of "since childhood".
2. The sequence of the two space systems
If we were given a complete set of puzzles for China's provinces, many primary school students would still be able to put together a complete map of China, no matter how they were disrupted. However, if we grasp an incomplete puzzle of China's provinces and a handful of foreign maps, no matter how we put them together, we will not be able to put together a complete map of China. The former can be spelled out because it has the rationality that can be spelled out, while the latter cannot be spelled out because it does not have the rationality that can be spelled out.
In the spatial system, one type of book can present rationality because it is rational in itself, and the other type of book cannot realize rationality, so it can only be considered that it is not rational in itself. In other words, rationality cannot be built on the basis of irrationality, which can be a change from the shattering of rationality. Further, the rationality expressed in the spatial system can only show that it is rational in itself, rather than on the basis of the irrational manuscript, and the irrationality shown in the manuscript can only show that it is not rational in itself, and it may be a fragmentation and alteration of the rational spatial system of the Jincheng text. Further, the spatial system of the Jinchengben is earlier than the spatial system of the manuscript, and the spatial system of the manuscript is a fragmentation and modification of the spatial system of the Jinchengben.
3. The dichotomy of the space system
The analysis of the copying market in the Cheng Weiyuan period can conclude that the Cheng book was the latest book in time, and the analysis of the spatial system can also conclude that the spatial system of the Jin Cheng book was earlier than the spatial system of the manuscript.
The emergence of this contradiction of the two laws can be deduced that the two have a common upstream. In other words, there are three stages of book completion, which can be deduced from the main and multiple perspectives, and the spatial perspective is the stage where they have a common upstream, that is, the "material stage" referred to by the author, which is also the first stage of book completion. In other words, there is a material for the first stage of the book, which is pushed backwards, and space is one of the ways. Among them, the Jin Cheng Ben inherits the space system of its common upstream, and the transcript makes changes to the space system of its common upstream.
The branch of the "inverted Y-shape" mentioned above, and the use of the "Bu" glyph diagram in space is more vivid. See Figure 1.
Figure 1.Schematic diagram of two space systems
4. The meaning of the glyph "Bu".
Paragraph "(1)" in Figure 1, indicating the space system upstream of their common common, belongs to the first phase of the book. For convenience, let's call it the spatial system of the material period. The paragraphs "(2)" and "(3)" in Figure 1 represent the spatial system of the manuscript, which is a modification of the spatial system of the material "(1)" and is represented by the diagonal line of the second stroke of "Bu". In the period of "(2)", there is only a slight change in direction, and "(3)" is a deep change in this direction.
In the "(4)" segment of Figure 1, the spatial system stays at the level of "(2)". In other words, "(6)", "(4)", and "(2)" basically inherit the spatial system of the material "(1)", so they are represented by vertical lines. And "(2)" does not continue to slope with "(3)". The author suspects that in the early days of the rewriting, there was a book that was circulated and circulated to Kong Meixi, which was renamed "Fengyue Baojian", which was represented by "(4)". "(2)", "(3)", "(4)" are considered to be the second stage of the book.
Such a schematic diagram is conducive to explaining:
First, whether it is the spatial system of the Jin Cheng book or the spatial system of the manuscript, there is a common "(2)". This section has been slightly modified, and the change is to place the Grand View Garden in the north and become a back garden. Therefore, when all the books go to Jia's mother, they all go to the "front" or "front". In other words, "(4)" and "(6)" all have space changed by "(2)". In other words, there are also a small number of elements of "(2)" in the spatial system of the manuscript "(2)" and "(3)".
Second, but on the whole, the Jin Cheng book is basically the spatial system of the Jin Cheng book on the surface and the inside, but although the manuscript "(2)" and "(3)" are adjusted to the back garden on the surface, the walking route and other words are still the spatial system of the material "(1)" between the lines. In other words, the Jin Cheng version inherits the basic spatial system of material "(1)", while the manuscript changes the text of material "(1)". The phenomenon of changing the text of the table also exists in the Jin Cheng version, for example: to Jia Mu, the expression text is "front" and "front"; for example, Xue Zhai's expression text is changed to "northeast up", but between the lines of the text is the space system of the Jin Cheng book. These few changes are presumably in paragraph (2). The manuscript is different, including not only "(2)", but also "(3)" with greater changes, and after the change, the space system between the lines is basically the Jin Cheng version, such as the Lixiangyuan table text changed to "northeast corner" but between the lines is "southeast corner", the walking route of the attack, and so on.
3. Examples of the Manuscript's Deviation from Its Own Spatial System: Chapter 69
In the 69th episode, Second Sister You committed suicide by swallowing gold, and Jia Lian was allowed to stop in Lixiangyuan. Ji Gengmeng, Qi Lieyang, etc. in the manuscript:
Jia Lian hurriedly ordered someone to open the door of Lixiangyuan and clean up the main room to stop the spirit. Jia Lian didn't think it was like a spirit out of the back door, so he did. I laid a brocade mattress on a soft couch, carried the second sister to the couch, and covered it with a sheet. Eight servants and a few daughters-in-law followed, and carried them from the inner wall to Lixiangyuan. ...... Jia Rong hurriedly came up to persuade: "Uncle is relieved, my aunt is not blessed." Saying that, Jia Lian understood, and only quietly stumbled and said, "I ignored it, and I will avenge you for a long time." ”...... And all the people of the tribe came...... Sister Feng saw it and carried it out...... , came back and returned to Jia Mu and said so and so. 〛 About 423 words.
1. This passage of the manuscript is placed in the spatial system of the manuscript and cannot be explained
In the spatial system of the manuscript, the Grand View Garden is located in the north of the Rongguo Mansion and is the back garden of the inner house of the Rongguo Mansion, the Lixiangyuan is located in the "northeast corner" of the Rongguo Mansion, and the Xue Mansion is located in the second gate of the Rongguo Mansion, that is, in the inner house. Painted by Tong Liqun and Xu Jianping, the Daguan Garden reflected is the back garden, and the Lixiang Yuan is on the north boundary wall of the Daguan Garden, see Figure 2 Xu Tu (the colors of red, orange, blue and green in all the pictures are marked by the author).
Figure 2: The location of the Grand View Garden and the Lixiang Courtyard painted by Xu Jianping
There are several problems that cannot be explained:
First, it is clearly stated in the book that Jia Lian wants "". The "positive wall" in the sentence should be a guide wall, and there should be a second note to this. This means that a door leading to the Grand View Garden should be opened at "A" in Figure 2. However, the condition of "leading to the street" must also be met, which means that in the area of the red dotted line "B", there is also a street that can be mourned and traverse the garden. This makes no sense, and there is never any mention of such a street connecting east and west in the text, nor does it mention that there are street gates at the east and west ends of this virtual street where you can exit the park. Obviously, the text of the 69th chapter of the manuscript of Ji Gengmeng, Qi Lieyang, etc., cannot be established in the spatial system of the manuscript.
Second, it is clearly written in the book that there is a "" in front of the Lixiang Temple. This requires enough empty space. Nor does the diagram drawn according to the spatial system of the codex, see Figure 2, satisfy this condition.
Third, in the fourth chapter of the writing about Lixiangyuan, the author narrated that "there is a corner gate in the southwest, which leads to a sandwich road, and out of the sandwich road is the east side of Mrs. Wang's main house. (Aunt Xue) every day or after dinner, or in the evening, Aunt Xue will come over, or chat with Jia's mother, or talk with Mrs. Wang. According to the Chinese characters of the book, there is a "sandwich road" between Lixiangyuan and Mrs. Wang's courtyard. If the location of the Grand View Garden and the Lixiang Courtyard marked in Figure 2 is followed, then this sandwich road is on the original foundation before the construction of the Grand View Garden, that is, the position of "C". It is unlikely that Aunt Xue would travel between the hills and ravines of the original foundation of the Grand View Garden at night.
Moreover, the formation of the mezzanine road is that there are coherent houses or walls on both sides, and this barren area of mountains and mountains in the wilderness will not build two walls that go high and low alone. Taking a step back, if we imagine this area as a flat terrain under the human house, those mountains and ravines in the garden were all artificially piled up and excavated later, but "moss into spots, vines and roses" was not able to grow back then, "the flying buildings on both sides are inserted into the air, carved and embroidered sills, all hidden between the mountain col and tree branches", "there are hundreds of apricot blossoms, like a breath of fire and steaming clouds" can not be realized. In addition, if the main mountain is thought to be artificially built, then the transportation of the huge stones required is not easy even for the royal family. Moreover, it is inconsistent with the text of the book, "A lot of financial resources are saved, even if it is not enough, and the addition is limited". In other words, the Grand View Garden is borrowed from the old "mountain rocks and trees" of the Huifang Garden of Ningfu and the "Old Garden of Rongfu", and the original foundation of the Grand View Garden is not a flat river.
Fourth, Sister Feng entered the Grand View Garden, and Jia Rong was in Lixiang Courtyard, reminding Jia Lian that someone would eavesdrop. However, the Lixiangyuan is "the front hall and the back house", from the south wall of the Lixiangyuan to the main house, there is a distance of the entire courtyard. Sister Feng was outside the south wall of Lixiangyuan, but she could hear the conversation of the people in the soul room in the depths, which was quite prevaricating to the reader. Anyone who has lived in the countryside knows that in the area around the gate of the small courtyard of the farmhouse, it is impossible to hear the life of the husband and wife in the house. What's more, the Lixiang Courtyard, which is "full of front halls and backrooms", cannot be smaller than the small courtyard of the farmhouse.
According to Song Hongwen's map, see Figure 3, the location of Lixiangyuan is drawn at the "F" in Figure 3, that is: the northeast corner of Rongfu, the southeast corner of Daguanyuan, that is, the middle waist of the entire Rongguo Mansion.
Figure 3: The location of the Grand View Garden and the Lixiang Temple painted by Song Hongwen
Although Song Tu does not have the flaw of Aunt Xue coming and going to and from the wilderness at night in Tong Tu and Xu Tu, and there is no disadvantage of the false "sandwich road", Song Tu also involves that there must be a door to "lead to the street" before Lixiangyuan. In the same way, the inner house of Rongguo Mansion will not exist, nor will it allow another street that can be mourned, and the east and west cross the Rongfu compound, not to mention the space required for "building sheds on both sides and setting up mandalas to do Buddhist things", etc., cannot be satisfied.
To sum up, whether it is in the Grand View Garden or in the inner house of the Rong Mansion, it is impossible to have such a "street" that cuts off the Jia family and divides it into two. Moreover, there is never any mention of such a street.
In other words, if the text of Chapter 69 is placed in the spatial system of the manuscript, that is, the Daikan Garden is located in the north of the inner house of the Rongfu and the Rihyangin Temple, whether it is placed under the root of the north wall of the Daguan Garden, as shown in Figure 2, or in the middle of the Rongfu as shown in Figure 3, it cannot be reasonably explained.
2. The 69th chapter of the manuscript and the Cheng version, if placed in the space system of the Jin Cheng version, can be compatible
In the spatial system of Jin Chengben, Daguan Garden is the east of Rongguo Mansion and the second mansion of Ningrong, which is the "outer garden" of the east of Rongguo Mansion, Lixiangyuan is in the "southeast corner" of Rongguo Mansion, and Xue Mansion is not in the inner house of Rongguo Mansion. The Grand View Garden, painted by Tiaoxi Yuyin, is an outer garden (see Fig. 4).
Figure 4: The location of the Grand View Garden, Lixiangyuan and Xue Mansion painted by Tiaoxi Yuyin
The location of the Grand View Garden, in the diagram, is Rongguo Mansion on the west side and Ningguo Mansion on the east side. (See ▲ marked)
The location of Rihyang-in Temple, in front of the Grand View Garden, is shown at G in Figure 4.
In order to facilitate comparison, the author draws the two spatial systems together, and makes appropriate adjustments according to the understanding of the Chinese characters in the book to make a simple diagram. After adjustment, it is shown in Figure 5.
Fig. 5: A comparison of two spatial systems drawn by Zhen Daoyuan
Now, we place the text in the 69th chapter of the manuscript of Ji Gengmeng, Qi Lieyang, etc., in the spatial system of the Jin Cheng version.
First, Jia Lian wants to "open a gate to the street on the front wall of Lixiangyuan". This "front wall" is the south wall. The understanding of these two words is unique, and if it is not properly appended, it will lead to ambiguity.
However, the word "toward" can be understood in two different ways: one is that "toward" can be understood as "in", that is, to open a door on the south wall of the temple itself. Another understanding is that "facing the front" can be understood as "facing the front", that is, not far from the front of Rika-in, a door is opened against the opposite wall. In other words, it is the same longitude from east to west, and the wall south of the Rihyangin Temple in the north and south latitudes, that is, on the south wall of the courtyard wall of the Rongguofu compound, there is a door directly opposite the Ihyangwon. See the south wall of the "open street gate" on the south side of the "(R)" marked in Figure 5. According to Figures 4 and 5, beyond the wall is Ning Rong Street. The concubine can't go through the main gate of Rongguo Mansion, and Jia Lian wants to open a new south gate of Rong Street. This satisfies the conditions of "access to the street".
Second, the sentence "build tents on both sides and set up mandalas to do Buddhist things". In Cheng Ben's spatial system, the gate of the Grand View Garden is a second gate to the east of Rongfu, that is, the "East Second Gate". Let's look at the route of the 18th Yuan Concubine's provincial relatives: in Cheng Yi's book, Yuan Fei's Luan Yu did not enter the Yimen on the middle road of Rongfu, so she went directly to the east, while in the manuscript, she had to enter the Yimen. See the red wire in Figure 5. If you don't enter the Yi Gate, you will go east, then the gate of the Grand View Garden is a second gate in the east of Rongfu, that is, "the second gate in the east". The trace left in the 28th episode is that the roasted tea said that he went up to the "East Second Gate". This east second gate should be close to the latitude of Jia Mu's Hanging Flower Gate. Daiyu entered the house from the West Corner Gate to the Hanging Flower Gate, and the author used "a place to shoot". In other words, in this spatial system, there is a large space in front of the Grand View Garden. This means that there is also a lot of space in front of the Lixiang Temple, which can fully meet the needs of "building tents on both sides and setting up mandalas to do Buddhist things".
Third, Jia Rong "pointed south to the boundary wall of the Grand View Garden" to remind Jia Lian to pay attention. As for the location of the Lixiangyuan in the "southeast corner", we can understand it as the front of the Grand View Garden, that is, the north wall of the Lixiang Courtyard and the south wall of the Grand View Garden, as shown in Figure 4, and it can also be understood as the "common wall" of the south wall of the Lixiang Courtyard and the south wall of the Grand View Garden as shown in Figure 5. In other words, the pear incense temple is inlaid in the south of the Grand View Garden.
In this context, Jia Rong pointed "southward" to the boundary wall of the Grand View Garden, which is also the open area outside the south wall of the Lixiang Temple, that is, the "(b�)" area in Figure 5. And this area, which belongs to the gate of Rongguo Mansion and outside the second gate, is the area where servants can move. In this area, there are many people with mixed mouths, Jia Rong reminded like this, which is in line with human nature.
Fourth, Sister Feng "bypassed the mountains, went to the root of the northern boundary wall to listen outside, and faintly listened to half of the words". If according to the Jincheng space system of Daguanyuan in the east of Rongguo Mansion, in the criticism, "only in the northwest area, after the nearest Jia's mother's bedroom", in the text, "Mrs. Wang's big room is often the door for his sisters to enter and exit", then it can be understood that Sister Feng entered the garden from the "❻" in Figure 5, and followed the red line of "❻" to the "root of the north boundary wall" of Lixiangyuan, that is, to eavesdrop on the conversation in the house at the back room mountain of Lixiangyuan, which can be achieved through the window on the back room mountain.
Sister Feng's route can also be supported by the 67th round. When the attacker went to Sister Feng, the route to walk had to pass through the Qinfang Bridge. However, in the spatial system of the manuscript, the attacker does not need to cross the Qinfang Bridge to the north, but should go directly to the south. However, in Jin Chengben's spatial system, it is precisely the 67th walking route, which is in the opposite direction of Sister Feng's route. In other words, what Sister Feng is taking here is the same route as the attacker, but in the opposite direction. And the location of Rixiangin can still be supported by the 54th round. I will not go into detail here, but see "The Subordination of the 28th Chapter of the Dream of the Red Chamber from the Perspective of the Space System" and "The Rewriting of the Dream of the Red Chamber from the Perspective of the Space System: From the 69th Chapter".
4. Examples of Manuscripts Deviating from Their Own Spatial System: Chapter 54
In the 54th time, Jia's mother wanted to pass on her own small opera team, and her daughter-in-law listened to it and agreed to come out.
First, if the spatial system of the manuscript is as Xu Tu (see Figure 2), Lixiangyuan is located in the area of the northern boundary wall of the Grand View Garden, and the troupe that goes to the Lixiang Yuan to pass on the opera is called "Daguan Garden", which is obviously the opposite direction.
Second, it is even more irrelevant and cannot be established to let "the two gates go to serve the little ones at the second gate" - because in the spatial system of the manuscript, whether it is the big flower hall from the Grand View Garden to Jia's mother's courtyard, or the large flower hall from Lixiangyuan to Jia's mother's courtyard, no matter how you go and what kind of reasonable route you take, it will not involve the "second gate" (see the green line in Figure 2). Because, there is no reason to go around to the second gate in the south of Jia's mother's house, and Jia's mother's pendulum gate has never mentioned that there is a small servant on duty. If it is still so attached, it is undoubtedly reasonable to go around to Rome.
However, if these characters are placed in the spatial system of the Jin Cheng Ben, it is a smooth and a hundred smooth. That is, the "East Second Gate" of Rongfu is the main gate of the Grand View Garden, and the Lixiang Courtyard is in front of the Grand View Garden. In other words, if you go to Lixiangyuan to pass on, you can use the Daguan Garden to refer to it, let the little guy on the second gate wait, and the little guy at the gate of the Grand View Garden is in front of you. See Figure 4 for the location of the main entrance of the Lixiang Courtyard and the Grand View Garden painted by Tiaoxi Yuyin and the sketch of Figure 5.
In other words, the 54th chapter, like the 69th chapter, the characters in the manuscript cannot be established if they are placed in the spatial system of the manuscript, but it is logical to place them in the spatial system of the Jincheng version.
5. Examples of Manuscripts Deviating from Their Own Spatial System: Chapter 56
The 56th Shi Xiangyun was sick and lay in Xue Baochai's Wuyuan. Let's look at the walking route of the invited doctor, the Chinese characters of the book are:
The mother-in-law replied: "Aunt Wu and Aunt Shan are waiting at the Jinmen in the southwest corner." The meaning is very clear: the doctor enters the Grand View Garden to enter the "Jujin Gate", and Wu Xindeng's family and Shan Daliang's family should guide the doctor to enter the garden at the Jujin Gate.
According to the manuscript, Jujin Gate is in the "southwest corner" of the Grand View Garden. Xu Jianping drew according to the manuscript, Jujin Gate is in the west corner gate behind the Rong Mansion, see Figure 2 Xu Jianping. If the doctor comes in from the back door of Rongguo Mansion, he will take the orange line in Figure 2, enter through the back door of Rongguo Mansion, go all the way south, enter the "West Corner Gate" behind Rongguo Mansion, and then enter the "Jujin Gate" of Daguan Garden, and then go northeast to Lixiangyuan to see Shi Xiangyun.
This leads to the question: Why don't you arrange for the doctor to enter the back door of the Rongguo Mansion and go directly to the back door of the Grand View Garden? That is, the route marked in blue in Figure 2, and take a long detour, especially to enter the West Corner Gate for no reason, and walk around the place where the ladies and relatives of the house in the Rong Mansion live?
Even if the doctor did not enter the back door of the Rongfu compound, but came from the south, then it is also necessary to ask: Why do you arrange for the doctor to pass through the Jujin Gate, but still have to go to the place where the ladies of the house in the Rong Mansion are active, instead of taking the southeast corner gate where Baochai often walks back to Xue's house? Moreover, why not arrange the convenient road to enter through the back door of the Rongguo Mansion and then directly enter the back gate of the Grand View Garden, that is, the route marked in blue in Figure 2? It is unreasonable and inappropriate to arrange any other route.
The reason why such strange things appear is because the text between the lines in the book does not correspond to the manuscript system of the manuscript Daguan Garden as the back garden, but to the spatial system of the Jin Cheng version.
Look at the space system of Jin Chengben, Figure 4, Figure 5 Zhen Zhijian diagram, Daguan Garden is the outer garden in the east of Rongfu, Jujin Gate is in the southwest corner of the garden, the doctor only needs to enter from a corner gate in the south of Rongguo Mansion, to the east to the Jujin Gate of Daguan Garden, into the garden to Luwuyuan, all the way shortcut, and more importantly: there is no need to enter the inner house of the female dependents for no reason, everything is reasonable. Don't go into details, see "A Strange Passage in the 56th Chapter of Dream of Red Mansions"
6. Examples of Manuscripts Deviating from Their Own Spatial System: Chapter 57
1. "Dropping" does not fit the spatial system of the manuscript
In the 57th time, Jia's mother came back from Xue's house, "I looked at the two of them again on the way, and then went back to the room." It means that Jia's mother went back from Xue's house to enter the Grand View Garden and pass by Yihong Courtyard and Xiaoxiang Pavilion, and she "stopped" to see Baoyu and Daiyu.
According to the spatial system of the manuscript, it can be judged that the 18th chapter "Aunt Xue moved to live in a quiet house in the northeast": Xue's house should be in the southeast of the Grand View Garden and the eastern part of the northeast of the inner house, that is, the east of the middle waist of the entire Rongguo Mansion. It is also in this way that people draw the location of Xue's house based on manuscripts, such as Figures 6 and 7 drawn by Huang Yunhao and Xu Jianping. In this way, if Jia's mother wants to enter the Grand View Garden, she has to take the "southeast corner gate" on the Grand View Garden where Baochai returns to Xue's house. But such a route, the green route in the picture, is not a "drop-way" route. Back to Jia's mother's house, Jia's mother only needs to go directly to the west, there is no reason to enter the garden, take a long detour, and also say "by the way". In other words, the location of the diagram is inappropriate and does not meet the needs of "dropping".
Figure 6: The location of Xue's house painted by Huang Yunhao
Figure 7: The location of Xue's house painted by Xu Jianping
2. "By the way" to join the space system of Chengben
The Xue house in the manuscript appears as a "shadow" in the art of Rixiangin, and both are rewritten in the direction of "northeast". As foregoing, this change should have been made in paragraph "(2)" of figure 1. But this change itself is a contradiction - because if the Xue Mansion is changed to the northeast corner, it will not be able to realize its residence in the Rong Mansion. If you want to be placed in the inner house, you need to be in the east corner gate behind Mrs. Wang. The east and west corner gates behind the Inei Mansion are the boundary gates of the inner house, and the inner house is within the boundary gate. Otherwise, functionally, the setting of the corner door will lose its meaning. However, near Mrs. Wang's courtyard in the East Corner Gate, there is no position for Xue Mansion to stand on, if a position is forcibly arranged, then Jia's mother "along the way" will not be able to justify herself, and she can go home by raising her legs to the west.
Because the "(2)" paragraph in Figure 1 is a paragraph that both branches have in the rewriting, it was also moved to the "northeast" with the change of the manuscript to Xue Zhai in the Jin Cheng system. The author suspects that the Lixiangyuan and Xue Mansion of the manuscript and Chengben all appear as "shadows". In other words, during the period of material "(1)", Xue Zhai was also the "shadow" of Lixiangyuan, all of which were in the southeast corner, which is understood in this way. Taking a step back, even if the Xue Mansion in the Cheng book was also moved to the "Northeast" according to the manuscript, this is still basically consistent with the spatial system of the Jin Cheng book. That is: Xue Mansion is not in the Rong Mansion House, but from the Xue Mansion to the Rong Mansion House, you need to pass through the Grand View Garden, such as the 97 times of welcoming relatives and the 98 times of "back to the nine". In other words, in the space system of Jin Chengben, it passes through Yihong Courtyard and Xiaoxiang Pavilion, which is "on the way". Don't go into details, see "Thoughts Triggered by Aunt Xue's Two Different Birthdays in Spring and Summer".
Without example, the text between the lines of the manuscript does not fit the spatial system of the manuscript, but it does not fit the spatial system of the Jin Cheng version, and this phenomenon occurs in the 4th, 7th, 8th, 17th, 18th, 26th, 28th, 41st, 54th, 56th, 57th, 67th, 69th, 73rd, 74th, etc.
Analysis of space systems
1. Phenomenon analysis
The reason for this phenomenon is that there was a rational spatial system in the material period, that is, the period of "(1)" in Figure 1. The Jin Cheng version basically inherited this spatial system, while the rest of the manuscripts changed this spatial system. In other words, the materials of the first stage of the book and the Jin Cheng of the third stage are similar spatial systems, and the manuscripts of the second stage of the book change the spatial system of the materials of the first stage of the book.
However, most of the changes in the manuscript changed the "skin and fur" of the text, and the "flesh and blood" under the fur, such as the walking route, were not changed. This led to the fact that the text of the manuscript was still in the period of "(1)", that is, it was consistent with the spatial system of the Jin Cheng version.
Jin Chengben inherited the space system of the "(1)" period. Therefore, whether it is the Jin Cheng version or the other manuscripts, the internal text is basically consistent with the spatial system of the Jin Cheng version, while the internal text of the manuscript is contrary to the spatial system of the manuscript itself. This is the reason why the texts of manuscripts 69, 57, 56, 54, etc., deviate from their own spatial system.
2. Motivation analysis
As a kind of "system", it is not possible to change the text in a few places, and everything can be fine, which involves many issues such as the walking route and orientation of the chapters. The slightest negligence will lead to fish that slip through the net and cause conflicts.
So, if the two systems are the same author, why do they do such a thankless task?
In the author's opinion, there are three stages of writing a book. The material period of "Brother Shi", that is, the first stage, is a rational system, that is, the "(1)" section in Figure 1. The space is changed in the second stage of the book, that is, the "(2)" and "(3)" stages in Figure 1, while "(4)" is stuck in the "(2)" stage, which is not the same author as the former, but the corresponding changes made by the nationalists in space to match the newly added national theme. "There is a good snow in a good year", "Xue" is originally harmonious with "snow", and the nationalists arranged the Lixiangyuan where the Xue family lives in the "Northeast", and the Xue family's new residence after moving out of the Lixiangyuan Xue Mansion still does not leave the Northeast, and the move is still "Northeast", becoming a shadow of the Lixiangyuan. Where can the huge mansion of Jiafu be arranged? It all depends on the author's pen, and this pen has its intention.
Even Grandma Liu's excretion must be arranged in the "Northeast", which can be dealt with in general terms without having to be specific to the location, but to write about the Northeast, according to people's intentional evaluation of the author's sentences, it is difficult to say that there is no intention. This kind of writing technique is not to correspond to anything in reality, but more importantly, to be able to arouse associations. In fact, it is precisely because of this that many people are obsessed with what is behind Suoyin. The author believes that Cao Xueqin's "(6)" inherits the space of "(4)", and "(4)" inherits "(2)", so "(6)" inherits the "(1)" of the first stage of the book.
3. Conclusion
As far as the space system is concerned, the changes to the space system are not made by people after Cao Xueqin, let alone Cheng Gao, and moreover, they are not made by Cao Xueqin, but by the alterers of the second stage of Cao Xueqin's previous book. Cao Xueqin, on the other hand, inherited the spatial system of the material period. The Jin Cheng version, especially the Cheng Yi version, only shares the part of Figure 1 (2) with the manuscript, and does not inherit the content of the "(3)" stage. It seems to bypass the "corner overtaking" of "(3)", which is directly based on the branch of "Fengyue Baojian". In other words, the vast majority of cartographers did not necessarily paint Cao Xueqin's Rongguo Mansion and Grand View Garden, but the nationalists' "(2)" and "(3)" maps.
This phenomenon is not only manifested in the space field, but also in other fields such as the time series field. The time system of the manuscript represented by the Gengben is the time system of the manuscript before and after the 71st chapter, and the 71st chapter deviates from its own chronological sequence and follows the chronological sequence represented by Cheng Yiben.
People are accustomed to using words such as "falsification" and "authenticity" to judge the version, but the author believes that there is no such thing as "right", "wrong", "true" and "false", but only early, late, good and bad. Because there is a process in the writing of "Dream of Red Mansions", people's changes are carried out in the right order according to their own will, and Cao Xueqin is the most successful one of them. If we insist on pursuing the most primitive text, we will get immature materials from the "Brother Shi" period. The final evaluation of "Dream of the Red Chamber" should be evaluated by the level of artistry, and the ultimate pursuit of artistic value should also be the evaluation of "Dream of the Red Chamber". Rather than mechanically chasing the earliest or latest. Artistry, on the other hand, must be artistry on the basis of rationality, not arbitrariness that is detached from rationality.