Recently, I re-read Liaozhai Zhiyi, and when I reached the fourth lady of Lin, I naturally thought of the seventy-eighth dream of the Red Chamber.
However, one is the palace daughter of Zhu Changshu, the king of Heng, who has drastic changes in Heng Province and died in distress. After the ghost, he interacted with Chen Baojian of Qingzhou Daotai for three years. On the occasion of the farewell, he wrote a poem poignantly: "After seventeen years of quietly locking the deep palace, who will ask the old country to qingtian?" It reveals a deep sadness of the subjugation of the country.
One has changed into the favorite of the Heng King, beautiful and extraordinary, and highly skilled in martial arts, simply a person like Nie Yinniang of the Red Line. After the death of Heng Wang, she resolutely led the female relatives of HengFu to form a female army with a female stream, and fought with the thieves to the end, and finally died in the king because she was outnumbered.
The same is Lin Siniang, but one is the King of Heng; the other is the King of Heng, in fact, the same protagonist, the different stories that are conjured up are a bit like the same humanities we write today.
Why do everyone invariably put roughly the same or very different content stories on Lin Siniang? In fact, it is because Lin Siniang in the middle of the Qing Dynasty was really too red! Let's take a look at the past and present lives of Lin Siniang's legendary story.
First, she was the most favored strange woman by the literati in the middle of the Qing Dynasty
In the middle of the Qing Dynasty, there was a very peculiar cultural phenomenon, that is, many literati particularly favored Lin Siniang, and used their different writing styles to write the story of Lin Siniang again and again.
Pu Songling in the late Ming and early Qing dynasties was not the first person to write the story of Lin Siniang, nor was he the last.
Retrospectively, the earliest person to write the story of Lin Siniang was Lin Yunming. This Lin Yunming and Chen Baojian of Qingzhou Daotai in the story of Liaozhai are both from the late Ming and early Qing dynasties, and they are fellow villagers, all of whom are Fujianese.
He first personally listened to Chen Baojian dictate that this period of people's ghost love was not over, and then wrote it into "The Record of the Four Ladies of Lin". In this note, we can see that the true identity of Lin Siniang is:
I Putian people also. Therefore, during the Ming Chongzhen years, my father was a Jiangning treasury official, and I was imprisoned with my cousin, so I and my cousin, I tried my best to rescue him, and I lay up for half a year, which was really selfless. The Father was released from prison and was suspicious. For I cast a thunderbolt, so that I could not see him, and the spirit of the spirit would not scatter his ears. There is a friendship with Jun, not by chance.
Shortly thereafter, Wang Shichen, a famous scholar of the Qing Dynasty, wrote this story into his "Chibei Occasional Talk", but it was very different from what Lin Yunming wrote, and it can be said that it is a completely new creation. Although the male protagonist of the story is still Chen Baokey, the identity of Lin Siniang has completely changed:
Concubines of the Heng Royal Palace also grew up in Jinling. King Heng used to hire a vain person with thousands of gold, entered the harem, spoiled the lun, unfortunately died early, and was buried in the palace. Within a few years, the country was broken, so he went north, and the concubines were still in love with the ruins.
Pu Songling and Wang Shichen were written friends for more than twenty years. The story and image description of Lin Siniang in Liaozhai should come from "Chibei Even Talk". In particular, the poem of Lin Siniang at the end of the text, "Chibei Even Talk" is:
The quiet lock of the deep palace recalls the past years, and the drums of the building are full of smoke;
Red Face is weak and difficult to be strong, and Black Sea is sad and only learns Zen.
Peruse the lotus flowers, and idly read two or three bay leaves;
The cemetery sang the Shengping Song, and the Jun auditioned it with great surprise.
"Chatting with Zhiyi" is:
After seventeen years of quietly locking the deep palace, who will ask the homeland to qingtian?
Idly look at the trees of the temple and weep at the king's cuckoo.
The waves of the sea country shine obliquely, and the Han family drums and smoke.
Red Face is weak and difficult to be strong, and Hui Qian's heart is sad and only asks Zen.
Recite a thousand sentences of Bodhi a day, and idly read two or three bayes.
Sing the pear garden song on behalf of the cry, please listen to it alone.
Looking at the comparison of the two poems, one is seven laws; the other is seven words. Pu Shidang is derived from Wang Shi, but the description of lyricism is more delicate and moving; and compared with Wang Shi, it has more of a layer of sorrow of subjugation.
Since Wang and Pu, the same people about Lin Siniang have flocked to it.
Chen Weisong's "Collection of Women", Lu Jianzeng's "Guochaoshan ZuoShi Scribe", Li Chengzhong's "Notes on Genzhai", An Zhiyuan's "Qingshe Testament", Qiu Zongyu's "Qingshe Trivia", Wang Shilu's "Fat Burning Collection" and other note-taking novels all have descriptions of Lin Siniang's story.
Until the end of the Qing Dynasty, the famous opera composer Yang Enshou also used the story of Lin Siniang in the Dream of the Red Chamber as a model for compiling and creating six Kunqu operas "The Legend of Concubine Feng".
In mr. Yang Lao's legendary drama, we were deeply impressed by the glorious image of Lin Siniang's killing of thieves and martyrdom:
I am General Lin Siniangye. The people are in turmoil, and the dog party is sneaking through. The king becomes a fatal loyalty, and the clown makes a plan to jump the beam. In the city gentry, have paid money to surrender. Although I beheaded a few people, there were too many feathers, and I saw that the isolated city was difficult to protect. cough! Think of me Lin Siniang, although she is a female streamer, she often holds a fierce heart. Life and death are heavy, and when martyrdom is held, instead of waiting for death behind closed doors, it is better to kill thieves and sacrifice their bodies. For this reason, the concubines were gathered and killed. Even if the body is crushed to pieces, it is also willing.
This recitation of the white once again raised the image of Lin Siniang to a new height, and in the face of the destruction of her family and the death of the city, she simply had the mourning of Madame Huarui:
The flag was lowered on the king's city, and the concubines learned in the deep palace?
140,000 people were disarmed, and not a single one was a man!
The above is the whole process of the evolution of Lin Siniang's story. After a hundred years, generation after generation of Qing Dynasty literati have been continuously expanded, rewritten, enriched and perfected; Lin Siniang, finally from a simple filial piety and martyr, has become a glorious female image who bears the sorrow of the subjugation of the country and is martyred.
Second, she is another unique way of writing the biography of Cao Gong for the boudoir
Why did the Dream of the Red Chamber, which has always been known for depicting warblers and swallows and children's love affairs, suddenly insert a story of Lin Siniang, who showed a fierce image, in the seventy-eighth time? I think this is another unique way of writing the Dream of the Red Chamber for the women in the boudoir.
The first time the book began to tell the reader that the purpose of his creation was: There are people in the boudoir since the calendar, and we must not be short because of my lack of goodness, self-protection, and make it disappear at the same time.
The author said that the women in the boudoir, of course, include, but are not limited to the women in the Red Chamber. So we see that in the book, there are both positive and direct descriptions of the images of the women in the Red Chamber, and a large number of side descriptions of women who have never appeared.
These women, who have never appeared, live in the oral descriptions of the characters in the book and the poetic images they chant.
For example, the extremely Iconic girl who smoked firewood under the snow in The mouth of Grandma Liu, the true and true chinese beauty who can make Chinese poetry in Xue Baoqin's mouth, and the Miss Mingyu who knew how to read and learn etiquette and died of illness at the age of seventeen all left a deep impression on us.
This pure use of side description to shape the character image is somewhat similar to the famous work "Butterfly Dream" by the British female writer Daphne Dumurier.
The heroine of the book, Rubika, is dead at the beginning of the novel and never appears in the book; however, she is always in the book. The writer completely completes the shaping of Lubeka's image through the descriptions of others.
There is no positive depiction at all, but the corrupt life of Rebecca's promiscuous skeleton; and her deformed marriage to Maxheim Derwent; and the indulgence and hedonism, deceit, extravagance, extravagance, snobbish hypocrisy of the British upper class, also impress the reader.
This unique and superb writing technique is also skillfully used in the Dream of the Red Chamber.
Lin Siniang's unique artistic image is so vivid and vivid that it lives in Jia Zheng's emotional narrative, Jia Baoyu's long poems and the hearts of hundreds of millions of readers.
In the Red Chamber Character Corridor, Lin Siniang, who shows her image of martyrdom, has left us a strong stroke of color, and has also added a different style to the colorful image of the daughter of the Red Chamber.
Third, she is an allusion and hint of the tragic fate of the daughter of the Red Chamber
There is a view that the reason why the Dream of the Red Chamber is very abruptly inserted into the story narrative and poetic description of Lin Siniang in the seventy-eighth time is to highlight the author's anti-Qing mourning ideas.
I don't think so. As mentioned earlier, it is simply because Lin Siniang, who was in the middle of the Qing Dynasty, was an Internet celebrity at that time, and many literati wrote and wrote about her in order to rub a hot spot.
But is Cao Xueqin just writing the story of Lin Siniang into the book simply to rub a heat? Of course not.
In fact, Cao Gong's re-creation of Lin Siniang's story is a clever allusion and hint to the tragic fate of the daughter of the Red Chamber in the book.
First of all, the word "姽婳" comes from Song Yu's "Goddess Endowment": "Both in seclusion and in the world", it is to describe the beauty of women.
The use of "姽婳" to describe the female Haojielin Siniang, of course, is because the stories about Lin Siniang that appeared in the early Qing Dynasty are mostly poignant people and ghost affairs, so the harmonic sound of "姽婳" and "ghost talk" is also the usual method used by people writing about the dream of the Red Chamber.
The book writes about Lin Siniang's affair, and Baoyu's sacrifice of Qingwen, appears in the same time, the most direct intention is to use Lin Siniang to die for the Heng King's killing of thieves, which is in contrast to Qingwen's death because Baoyu has assumed a false name and died unjustly; it is also for the following to write Baoyu Qingwen's affair Zhang Ben. Although the matter is two, the situation is one.
In the datong of the emotional world, Jia Baoyu went from Lin Siniang to Qingwen; from the battlefield to the boudoir; from the "Concubine's Words" to the "Furong Daughter"; he was depressed and full of resentment, and changed into a long song in the long sacrifice text.
Secondly, the portrayal of Lin Siniang's image is not only in contrast to Qingwen's tragic fate, but also to allude to other daughters of the Red Chamber.
Baoyu's "Words of Concubines" reads:
The soldiers only protect themselves, and Qingzhou sees dust;
Unexpectedly loyal to the Ming Dynasty, indignant King Heng was proud of people.
Also wrote:
Tianzi panicked and hated to lose his guard, and at this time, Wen Wu bowed his head.
What is the wen and wu li dynasty, not as good as the fourth lady of the boudoir Lin?
I sighed for the fourth lady, and the song became a lingering meaning!
All of them remind us of this great Jia Fu, at the end of the road, actually relied on Wang Xifeng and a weak female stream to support him; and Jia Yuanchun sacrificed his life's happiness for the glory of the entire family, and finally was forced to get involved in endless court struggles and become victims; Jia Tanchun was forced to marry overseas in order to save Jia Fu and never return.
This one after another was ordered to be in danger between the women of the Red Chamber, why not one Lin Siniang after another? They are willing or forced to sacrifice their own image, and this beautiful and tragic end of life has made many readers cry in unison!
From the poignant and mournful ghost love of people to the new shaping of the image of Lin Siniang, who is beautiful and extraordinary in martial arts, heroic and heroic, we can see not only Cao Xueqin's superb writing skills, but also his consistent purpose of writing for the boudoir.
Therefore, Lin Siniang is not the sustenance of the author's anti-Qing mourning ming thought, but a successful take-ism of the author's biography for the women in the boudoir.
Author: Noon Dream Hall Lord, this article is published with the author's permission. Welcome to my headline number: Read less about the Red Chamber and tell you a different story of famous books.