Chapter 5 Two Details of A Dream of Red Mansions (1)
──The years of Jiaxu edition and Gengchen edition
The name of the Jiaxu version of Dream of the Red Chamber comes from a unique sentence in this manuscript: "Zhizhi Yanzhai Jiaxu copying and re-evaluation", but it does not mark the time of the year, such as the Jimao and Gengchen versions-the Gengchen version only The second half is marked with "Gengchen Qiuyue Final Version".The Jiaxu edition is incomplete and divided into three parts, the first to eighth chapters, the thirteenth to sixteenth chapters, and the twenty-fifth to twenty-eighth chapters.In terms of form, these sixteen chapters are naturally divided into four sections, each with its own commonality and unity.
The name of the Jiaxu version of Dream of the Red Chamber comes from a unique sentence in this manuscript: "Zhizhi Yanzhai Jiaxu copying and re-evaluation", but it does not mark the time of the year, such as the Jimao and Gengchen versions-the Gengchen version only The second half is marked with "Gengchen Qiuyue Final Version".
The Jiaxu edition is incomplete and divided into three parts, the first to eighth chapters, the thirteenth to sixteenth chapters, and the twenty-fifth to twenty-eighth chapters.In terms of form, these sixteen chapters are naturally divided into four sections, each with its own commonality and unity: Chapters 1 to 5: There are no double-line comments in small characters, and there are no such phrases as "decomposition in the next chapter" at the end of the chapter── ─The first four chapters are not available in the Geng edition──Chapter 6 to Chapter 8: After reviewing the general review or title poem, the poem at the end of the review is combined as a conclusion; Chapter 13 to 16: Reviewing the current review and title poem── Poetry Que; Chapters 25 to 28: General approval after the return.
There is a "common case" in front of the first round. "Fan Li", the fifth, thirteenth, and twenty-fifth chapters all have the title "Zhiyanzhai Re-evaluation of Stone" on the first page, occupying the first line.In other words, the title appears every fourth time.Apparently, the Jiaxu version was originally a four-chapter version, so the last page of the fourth chapter was damaged, and Hu Shizhao copied 94 characters from the Geng version.The first page of every fourth chapter is the cover, and there is no other title page, so the first page of the thirteenth chapter is damaged, and five characters are missing in the lower right corner of the first page of "Fan Li" (Hu Shi fills in the words "多□□Honglou", leave two spaces).
Liu Quanfu, a collector in the Qing Dynasty, wrote: "... It is a pity that only eight volumes are preserved."The number of volumes marked on each page of this book is the same as the number of chapters, but the "eight volumes" collected by Liu at that time were naturally not only eight chapters, but eight volumes, with a total of thirty-two chapters. Whether it is coherent or not is unknown.
The original intention of this article is purely on the differences in form and writing--the various formats of the general batch, whether there are formulas or poem couplets such as "next chapter decomposition" at the end of the chapters, different writing methods of common characters, and other variants-- To calculate the year of the Jiaxu edition, but these materials implicated the Geng edition to the point of being inseparable, because the Geng edition is not only the only other most reliable Zhiben, but unlike the Jiaxu edition, which is a fragmentary edition, the material is much richer.Moreover, one of the characteristics of the Geng edition is its respect for form. Even in the first eleven chapters, the so-called white text, all the comments and hundreds of characters were deleted, making it almost incomprehensible. tip.In addition, many places reflect the original appearance of the original version, such as the lack of poetry couplets at the end of the chapter, which still retains the word "zheng", and the twenty-second chapter lacks the general batch, and there is still a blank back attached leaf. According to the typical summary of this book Batch page format, write the title of the book on the right.
The phenomenon of respecting the form more than the content is due to copying hands blindly, so they are absolutely loyal to the original text, while the owner of the book does not pay attention to details, the only concern is to save copying fees, and has little interest in commentary. The talk was too long, so it was abridged.
In the past 50 years, Yu Pingbo affirmed that the original version of the Jiaxu version was indeed the version of the Jiaxu year of Qianlong (1754)—hereafter referred to as the 1754 version, so as not to be confused with the "Jiaxu version"—but because of alleged Support Hu Shi's opinion, very vague (Note 1).He believes that the reason why the Jiaxu edition is the 1754 edition is: Gou Jiaxu’s unique "Fan Li" says: "Dream of Red Mansions is the name of one of its parts", the title of the book should be Dream of Red Mansions, and this edition is the first chapter It contains: "From Wu Yufeng, the inscription is A Dream of Red Mansions.... Zhiyanzhai Jiaxu copied and commented, and still use stones to remember."In the end, it comes down to The Story of the Stone, obviously the title of the book is The Story of the Stone; it is inconsistent.The above quotations were all deleted in the later editions of Jimao (1759) and Gengchen (1760), which are the result of the author's arrangement.The thirteenth chapter of the Jiaxu version has eyebrows: "This chapter is only ten pages, because the Tianxianglou section was deleted, but four or five pages are missing." (below the eleventh page) The Jiaxu version is exactly ten pages, which can be seen here The bank's money format also retains the old appearance of the fat batch book.
If the author deletes the sentence "Fan Li" and "Dream of Red Mansions" in the wedge because of the contradiction in the title, and abandons the title of "Dream of Red Mansions", why does the sentence "Jiaxu...re-evaluate, still use stones" be deleted? So that a series of book titles finally belong to "Jinling Twelve Beauties"?The title of the book finally adopted is obviously "The Story of the Stone", not "The Twelve Beauties of Jinling".Isn't the result of the author's arrangement more confusing?The two extra sentences in Jiaxu's original wedge were obviously added later, he didn't have them, it's not that they deleted them.The theory of deleting "Fanli", "Hong" and "Jia" in the Jimao and Gengchen editions cannot be established.
As for the thirteenth chapter of the Jiaxu edition, the number of pages is the same as that of this chapter after the deletion of Tianxianglou. This just means that the Jiaxu edition is close to the final draft of this chapter, and it is not a manuscript that has been copied repeatedly.If according to this, the 1754 edition of Nailxu is assumed, it is assumed that the Tianxianglou section was deleted from the 1754 edition, which is purely speculation.At this stage, it is impossible to know when "Qin Keqing's obscene funeral Tianxianglou" was deleted.
Wu Shichang analyzed that the general batch of the Jiaxu edition contained the Huinei batch of the same edition as the Geng edition, which was copied in large characters with ink and brush after moving to the front or back of the Hui, and some words and sentences were slightly changed.In the twenty-sixth chapter, there is a general comment that was originally written by Geng Ben Jihu Ding Haixia, "You can know that the main text of this fragment of ink script was recorded after Ding Hai (1767) at the earliest." (Note 2) Yu Pingbo thinks that this is the book Jiaji batch as the general batch, taking up more space and increasing the number of pages in order to raise the price of the book, which has nothing to do with the original year of the main text.
Chen Yuzhen pointed out that the fifth paragraph of "Fan Li" is a long passage at the beginning of the first chapter of his book; moreover, there are many examples of "Fan Li" or "reading method" written by critics in novels before A Dream of Red Mansions, such as "Romance of the Three Kingdoms" "It's Mao Zonggang's "Fan Li".The "Fan Li" in the Jiaxu version is two frames lower than the main text, and the attached poem Qilu has no commentary, but the title poems of the first two chapters have commentary and praise, which also proves that "Fanli" and the Qilu poem were both written by the critic Zhiyan .
Chen also said that among the Zhiben, the Jiaxu version's "text is based on the earliest original, so it is closer to Cao Xueqin's original manuscript than the other ones. . . In the Gengchen version, the Fanli and the attached Qilu are no longer found. (Note 3)... This Fanli (Note 4) was deleted in the later manuscripts." This was also deleted by Zhiyan himself, otherwise the author would not be able to delete it on his behalf.
Zhiyan only left the fifth paragraph of "General Rules", and deleted the six crosses. As the first round of general comments, it should be two spaces lower than the second round of the Jiaxu edition.The second paragraph of Chapter 1 of the Geng edition (the full manuscript is also available, not divided into paragraphs): "Where words such as dream and illusion are used in this chapter, it is to remind the reader's eyes, and it is also the original purpose of this book", which is the general comment of the second paragraph. And a large paragraph in front of it is the total batch mistakenly entered into the text.The second section of the general batch has the same meaning as the first half of the poem Qilu in the Jiaxu version, and it was rewritten by Zhi Yan after deleting the Qilu.
This last point seems too far-fetched.This general batch is to say that the words "dream" and "fantasy" in "this chapter" symbolize the meaning of the whole book.The first half of the seven rhythms:
Floating life is very hard to run?The feast of Huayan is finally over.
Sorrows and joys are like illusions, ancient and modern dreams are all absurd.
The first and fourth sentences generally talk about life, while the second and third sentences clearly refer to the Jia family and the protagonists in the book. Comedy love.
Chen said that the main text of the Jiaxu version "is the earliest, so it is closer to Cao Xueqin's original manuscript than the other books", which seems to be based on Yu Pingbo's theory-that is, although the Jiaxu version was approved by Shu Jia Ji as the general approval, the text part The copy is 1754, the big brother in the fat book, because its thirteenth chapter is close to the original manuscript of Zen Tianxianglou──but Chen made the mistake because of the reason, and seemed to think that there was only one original manuscript by the author. The original is no longer close to the original manuscript──Due to copying mistakes and making changes? ──The "Fan Li" was deleted by Zhi Yan and replaced by the two general batches.As for why not say that, there are only a few sentences, which are vague and compressed, presumably because of scruples, "the earliest theory of Jiaxu version" belongs to Hu Shi's family.
Note on the word "grandma" in the sixth chapter of the Jiaxu edition: "The sound is old, and the sound is the same (harmonic) sound. It is called Bi Xiao." (Third page) "俇" Note: "Sound and light, Qu Sheng, You Ye , out of the Kai (harmonic) sound character Jian." (fifth page bottom) The modern common "shopping", this vulgar character is "kuang" in both the full manuscript and the white version of the Geng version, presumably it was a word borrowed from an earlier period.In the tenth chapter of the white text, "俇" was added——the tenth chapter about Qin's illness was added after deleting "Xianmang Tianxianglou". A way of writing, detailed later.The official Geng edition starts from the twelfth chapter, and the fifteenth chapter uses this word, and it is still written as "kuang" (page 321, line 8). It is not written as "" until the seventeenth and eighteenth chapters. Note: "Sound and light, remove the sound, and write notes with a consonant (harmonic) sound." (Page 352)
"Xieshengzijian" is the abbreviation of "Xieshengpinzijian". It is said that when things are idle, they are also called 俇. "(Note 6) The handwriting of the Jiaxu edition is used to mistaking the single side for the double side, such as Tanchun's girl "Servant Book" is unified as the waiting book—the same in each copy, and the Geng version is changed to "Servant"; but only Jia "俇" in the Xu version was mistaken for "". It seems that "Dai Shu" originated from the Jiaxu version.
The note on the word "俇" obviously existed first in the seventeenth and eighteenth chapters of the Geng edition, and then moved to the sixth chapter where this character first appeared in the book before the Jiaxu edition was moved.
In the sixth chapter of the Jiaxu edition, Grandma Liu appeared on the stage. After a few "grandmas", she suddenly wrote "嫽嫽", and then "Grandma" and "嫽嫽" alternated. The term "嫽嫽" is only found in the chapters 31 to 40 of the Geng and Jimao editions, which contain the sentence "The village is just talking about it"──Wu Xiaoling's collection of Jiyou (1789) with the same fragment ──In the forty-first chapter of the Geng edition, starting from the first sentence, there are three consecutive "刘嫽嫽", and then four times "嫽嫽", followed by another "嫽嫽", after that it is always "Grandma".It can be seen that the original work "嫽嫽" was later changed to "Grandma", which was not thorough.In addition, in the thirty-ninth chapter of the whole manuscript, "嫽嫽" is completely changed to "grandma", with only one "grandma" sandwiched in the middle.
"Grandma" has been used in the Bai text of Geng edition, but "俇" is still used as "kuang", and "" is used again in the tenth chapter.In the sixth round, if "grandma" made a bet, it has been deleted together with all the comments.
The sixth chapter of the Jiaxu version is obviously a recopy of the old manuscript, changing "嫽" and "kuang" to "grao" and "俇", and adding notes. The word "俇" also adds the meaning of "You Ye", which is more concise and concise than the explanation on "Zi Jian", but the word "愈" is still not explained, which is considered unnecessary.This proofreading work is meticulous and flexible, and it will not be the work of a bookseller.The notes on the word "俇" in the seventeenth and eighteenth chapters are the same as the annotations on "Nai" in the sixty-fourth chapter of Longwen and the many allusions in the seventy-eighth chapter "Furongyi". The note of "俇" was moved forward to the sixth chapter, either the author himself or the critic, probably the latter, because "Jiaxu Zhiyanzhai copied..." The author seems to ignore these.
The sixth chapter of the Jiaxu version is later than the seventeenth and eighteenth chapters of the Geng version, so the Jiaxu version is not the earliest Zhiben.Since the Jiaxu edition is not the earliest, its "Fanli" is not necessarily earlier than the beginning of other editions.In other words, is there a "Fan Li" first, and then the fifth paragraph is deleted to become a long article of his first review, or is there a long article first, and then expanded to become a "Fan Li"?
Chen Yuzhen clarified at least three points: Gou's "Fan Li" was written by a critic. (Note: Chen Shijing refers to it as Zhiyan, but it can only be confirmed that it is Zhizhiren.) The first sentence of the first paragraph and the second paragraph of the first chapter of the Geng edition are both general criticism and entered the main text by mistake.There is one word difference between the fifth paragraph of "Fan Li" and the first sentence of his version, and the meaning is different. His version "this is the first chapter of the book" is a complete sentence, and "Fan Li" is "the first chapter of this book". The meaning is not exhaustive, which means "in the first chapter of this book".
The original text of "Example" here is as follows:
In the first chapter of this book, the author, Ziyun, wrote the book "Story of Stones" because he had experienced a dream, so he concealed the truth. ...
It is stated that the text from the first chapter was quoted, but in the end, all the text was quoted, and it was not there in the first chapter.For the first time in his book, there is a large section of "the author's self-cloud", but the Jiaxu book is missing, and it was cited by "Fan Li".Obviously, there is the first chapter of his book first, and then there is "Fan Li", and a paragraph of the first chapter is included as the fifth paragraph.
The structure of the first chapter was originally the same as that of the second chapter: the general batch after the review, and the title poem—probably the original form of review in the early days—but the title poem of the first chapter was woven into the story of the wedge, and did not appear until the end of the wedge .
The fifth paragraph of "Fan Li" was originally the general batch of the first paragraph of the first chapter.The second paragraph generally criticizes "in this chapter, the words "dream, fantasy, etc." are used...which is also the original purpose of this book." Why is there no income "general rule"?Presumably because of the subtitle "Dream of Red Mansions" with the "Fan Li" subtitle.
At the beginning of "Fanli", it said "Dream of Red Mansions is the name of its first part", and the subtitle is "The Purpose of Dream of Red Mansions".As Yu Pingbo said, the title of the book should be A Dream of Red Mansions.There are 20 poems chanting the Dream of Red Mansions in the "Green Smoke and Small Window Collection" in Mingyi. Today's editions are not the same, and Zhizhi critics should write "Fanli" during this period.When I wrote the first chapter of the general batch, it was still called "Story of the Stone": "...the author Ziyun had experienced a dream, so he concealed the truth and wrote this book "Story of the Stone."
"Fan Li" is a work during the title "Dream of Red Mansions", before "Re-evaluation of Zhiyanzhai Jiaxu Copying".As for the initial review, there was already a general approval when it was first named "Story of the Stone", which may have been written by Zhi Yan. "Fan Li" is not necessarily made by Zhi Yan.The first batch covers the whole book, which is equal to the preface. After the "general rules", it is too repetitive in nature, so it is included in the "general rules".
At the end of the wedge, the title of the book is listed. On the sentence "Donglu Kongmeixi is titled Fengyue Baojian", there is an eyebrow comment in the Jiaxu version: "Xueqin used to have a book of Fengyue Baojian, which is the preface of his younger brother Tangcun. Today Tangcun It has passed away, and Yu Xinxin is nostalgic for it, so it is still because of it." In the Geng version, there was a critic named Meixi, which is Caotang Village. Here, the author gave him the surname Kong, who was originally from Donglu, to make fun of him and compare him to Confucius.According to this eyebrow comment, Wu Shichang deduced that the first and second chapters of the general batch were actually introductions, and that they were all "Tangcun Preface" in the "Fengyue Baojian" with the Gengben Huiqian Attached Ye and Huihou batches. "When Zhiyanzhai edited Xueqin's new draft, in order to commemorate the deceased Tangcun, these small prefaces were still inherited." (Note 7)
Wu cited a lot of internal evidence, for example, the plot or number of chapters described in the attached leaf and the later commentary did not match the current version, and there were comments spanning two or three chapters, which seemed to be combined. (Note 8) also pointed out that the appendix There is only the title of the book "Zhiyanzhai Re-evaluation of Stones" on the leaf, but there is no number of times, because the number of times on "Fengyue Baojian" is different.In fact, the above situation is the trace of the rewriting of this book in ten or twenty years.Before the title of the book "Dream of Red Mansions", there have been "five additions and deletions" in the "Jinling Twelve Beauties" period.It is an overly simplistic view that Wu always puts the new manuscript against the old manuscript.
So if that eyebrow comment does not refer to the preservation of the order of Tangcun, how can it be explained?Wu Shichang mentioned the sentence that Zhou Ruchang thought was meant to preserve the batch, that is, "Kongmeixi in Donglu is titled Fengyue Baojian".This joking tone may not be in harmony with the context, but no matter how close the critic and Cao Xueqin are, it is inconvenient to delete a sentence from someone else's work——Jihu "Mingqinxi" deleted Tianxianglou, calling himself Delete it, that's another thing -- besides, the reasons are not sufficient.
Yu Pingbo regards "Fengyue Baojian" as another book, but some contents are transferred to "Story of the Stone", such as Jia Rui's story, and Eryou, Qin's sisters and brothers, Xianglianyuai, Duomei, etc. yes.But Wu Shichang obviously thinks that "Story of the Stone" itself has a period called "Fengyue Baojian", which is probably because the series of book titles in the wedge are arranged in chronological order.This section of the Jiaxu version is as follows:
...Change "Stone Records" to "Love Monk Records".As far as Wu Yufeng inscribed "Dream of Red Mansions", Donglu Kongmeixi inscribed "Fengyue Baojian".Later, because Cao Xueqin read it for ten years in Mourning Hongxuan, added and deleted it five times, compiled it into a catalog, and divided it into chapters, the title was "Twelve Hairpins in Jinling", and a must-say: (poetry brief) to Zhiyanzhai After Jiaxu copied it and re-evaluated it, "Stone Records" was still used.
According to the order in this paragraph, the title of the book "Dream of Red Mansions" precedes "Fengyue Baojian" and "Jinling Twelve Hairpins".However, the "Fan Li" of the "Dream of Red Mansions" has already mentioned "Fengyue Baojian" and "Jinling Twelve Hairpins". Obviously, these two terms have already existed, so it can be seen that the titles of this series of books are not completely in chronological order.Moreover, the name "Dream of Red Mansions" originally came from "Twelve Hairpins". "Twelve hairpins" is a topic, there is a booklet of "Twelve hairpins" in Baoyu's dream and the song "Dream of Red Mansions", so "Wu Yufeng" suggested using the title of the song as the title of the book.
In the list of books in Wedge, "A Dream of Red Mansions" should come after "The Twelve Beauties of Jinling". Why is the order reversed?Because if it is ranked after "Twelve Hairpins", it will be named "Dream of Red Mansions" at the end, and the author still advocated the use of "Twelve Hairpins" at that time, so "Dream of Red Mansions" was placed in front of "Fengyue Baojian" to express the "love of changing the name". After "Seng Lu", someone wrote "Dream of Red Mansions" and another Taoist teacher wrote "Fengyue Baojian".
So how can "Fanli" use "Dream of Red Mansions" instead of the author's intention?Assuming that "Fan Li" was written by "Wu Yufeng", another Zhi Yan reviewer's pseudonym.He explained the reason for using "Dream of Red Mansions" at the beginning: it is general and can accommodate these themes with different sentiments, "Fengyue Baojian", "Story of the Stone" - the story of Baoyu - the twelve hairpins. In order to argue this point, "Wu Yufeng" emphasized the importance of "Fengyue Baojian" and brought it out to sit in the second place under "Dream of Red Mansions", although the author never seriously considered using "Fengyue Baojian".
Yu Pingbo talked about the deletion of Tianxianglou: "Qin Keqing's story should be the peak in the old Fengyue Baojian. After this deletion, there are only fragments left, which are scattered in various chapters." (Note 9)
"Wu Yufeng" re-read the first chapter later, and saw that the author laughed at Tangcun for being too Taoist: "Kongmeixi in Donglu is titled Fengyue Baojian", and he was obviously dissatisfied with the title of the book.It is even more inappropriate after the deletion of Tianxianglou, which is only applicable to a small number of supporting roles, so "Wu Yufeng" felt the need to explain why he didn't delete the "Fan Li" he wrote in which he solemnly introduced the words of "Fengyue Baojian": Xueqin wrote a preface to her old book "Fengyue Baojian", so she kept Tangcun's favorite title to commemorate the deceased.
"Fan Li" forcibly changed the title of the book. The author always has his own reasons. He is embarrassed or inconvenient to object, so he just lightly added a sentence "to Wu Yufeng titled "Dream of Red Mansions"" in the wedge to belittle the status of this title. This sentence should be compared with "Fan Li" at the same time. The sentence "Zhizhi Yanzhai Jiaxu Copying and Commenting" is the last item added in the first chapter, so the first chapter of Jiaxu version is finalized in this chapter.If this sentence was added in the year of Jiaxu, the first chapter of this book would be 1754.However, it is also possible that after the Jiaxu period, the book was restored to its original name.
The white text of the Geng edition sometimes reads "Momo" as "Momo", and the sixteenth chapter of the Jiaxu edition alternates between "Momo", "Momo" and "mother". ──"Nurse" is the title of an elderly high-ranking maid, and "Mother" is the honorific title given to them by the master of the younger generation.However, in the sixteenth chapter of the Jiaxu edition, Mother Zhao is sometimes referred to as "Mother Zhao", which is a Jiangnan dialect that has not been corrected.There are occasional Wu dialects in the entire manuscript, (Note 10) the author has changed it after he became proficient in the northern dialect, but the Nanjing dialect still exists, such as "good (sound consumption) meaning", interpreted as "intentional". (Note 11) ── Qi Ben is always written as "嫫嫫".The whole manuscript is collectively referred to as "Mummu"──The thirty-third chapter of the Geng edition also has an "Old Sister" (page 761), which is the same as Qi Ben, and it is a fish that slipped through the net──The same as "Kuang" in the same part. The reason is that the original version was originally an early version, and the current version was replaced successively. At first, the current version contained few elements, so when encountering the character "俇", it was still written as "Kuang" to accommodate many original "Kuang" characters, so as not to alter; For the sake of unification, it has been used since then.For the same reason, "Let's listen to the next chapter to decompose" is added to the Qi version and the full manuscript without the last set of words or poems. The lack of poetry couplets under the word "Zheng" has also been deleted, otherwise it will look incomplete.
Wu Shichang and Yu Pingbo also believed that the Jiaxu edition was the owner of the book or the collection of manuscripts to fill the general batch in order to increase the price of the book. (Note 12) But on the one hand, there is a trend of deletion, and fragmented wedges are generally accepted. Obviously, people are generally not interested in the parts of the book that do not have a story.Add more total batches, and a slightly thicker book may not be able to sell more money.
Judging from the Qi version and the full manuscript, the unauthorized modification of the transcribed version is all for the sake of consistency.Why did the format of the general batch be changed twice in the last two sections of the Jiaxu version, and then changed back to the current batch and then back to the later batch?What is especially strange is that the thirteenth to sixteenth chapters suddenly have a new style, and each chapter has a title poem—the first eight chapters only have five chapters—but there are no poems at all. Leave blank.If the "Poetry Cloud" is the original one, why didn't the bookseller delete it, lest it look incomplete?
Let's not ask these questions, let's first examine the first eight episodes where there were no problems.
As mentioned earlier, the first general batch of the Jiaxu version and the foreign editions were written during the period when they were first named "Stones", and have the same format as the second general batch, and belong to the early version.The second total batch includes:
Once the psychic gem came out of Shiyin's dream, and now it comes out of Zixing's mouth, the reader already understands it. Then, when he traced it in the eyes of Daiyu and Baochai, it is the key point of the article... After all, this jade should have come from the eyes of Chai and Dai, so it can be taken care of. ...
In the eighth chapter of Baochai's book, it is the first time to describe the shape and engraved characters of jade, but it has never written that Daiyu looked at jade carefully.In the third round of Baodai Chuhui, the full text of the jade writing is "a gold chisel necklace on the neck, and a piece of five-color silk, tied with a piece of beautiful jade." It cannot be regarded as "extremely fine and detailed description".That night, Daiyu was saddened by the incident of Baoyu smashing jade during the day, so Xiren talked about the piece of jade and wanted to show it to her. "Daiyu hurriedly said: "Forget it, it's late at night, and it's not too late to see tomorrow." The next morning Daiyu met Jia Mu and went to Mrs. Wang. Mrs. Wang was just receiving the news of Xue Pan's murder, so she diverged.Obviously, in the night talk about Daiyu's appreciation of jade in the original, it was a serious crime with Wen Baochai's appreciation of jade later. It was deleted and changed to the present one. A light style.
The third chapter not only does not match the general batch of the second chapter, but also conflicts with the text of the twenty-ninth chapter.The third time, Jiamu gave Daiyu a maid, Parrot. Xiren was originally Jiamu's maidservant, whose original name was Pearl, and gave it to Baoyu.The eighth chapter mentions Zicuckoo for the first time, in this batch of Jiaxu: "Parrot has changed its name" (p. 8).However, in the twenty-ninth chapter of Jia Mu's maid, there are still parrots (rots) and pearls (page 665 of the Geng edition).In the third chapter, Mother Jia gave the parrot to Daiyu, and the attacker was also given by Mother Jia. This section is obviously added later.It turned out that the attacker was originally Baoyu's girl, and Zijuan and Xueyan both came from the south.In the second chapter, it was written that Daiyu had "two accompanying maids", so she didn't bring only one.
In the third chapter of the Jiaxu edition, "Mama" was first written as "Momo", and from Daiyu to the courtyard where Jia Zheng lived, it was changed to "Momo".When writing a long section about Jia Zheng's house, Zhi Critic praised it for not being a "rich story" piled up out of routine.Writing on the table decorations, and criticizing "sad pen, tearing pen", it should be written based on memory.This paragraph was also added later.Afterwards, the term "Nurse" is used again. It is another rewriting of the section where Daiyu gave the parrot maid to Daiyu, and Daiyu's parrot attacked people at night and talked about looking at jade.
In the Geng version, "Momo" was changed from "Momo" to "Momo", so the old and new are not so distinct. It was "Momo" at first, and it was still "Momo" in Jia Zheng's courtyard, and it was changed to "Momo" only after entering the house; Brother Daiyu attacked people at night to talk, and it was "Momo" again.In comparison, the Jiaxu version is obviously a rewrite of the final third chapter. The old version uses "嫫嫫", and the second half of the chapter adds two new paragraphs, all using "妈妈", unlike the Geng version, which is an old version. The original version has been revised accordingly, so there are "momo" that have been omitted.
This is a unique chapter in the Jiaxu edition, "Jinling City Restored Jiayu Village, Rongguo Mansion Adopted Lin Daiyu". At this time, Daiyu was not an orphan, and her father was a high-ranking official. It was said that "adoption" was inappropriate, but this edition contains comments: "The two characters are so desolate", it can be seen that the writing is thoughtful, not sloppy writing.
After returning to Nei Daiyu, she met Jia Mu and others, and sat down to describe her deceased mother's illness and funeral. Jia Mu became sad again and said, "Among the children, your mother is the only one who loves you. If you leave me today, you won't even be able to see her face to face." ", because he hugged Daiyu again and sobbed.This section was approved by the Jiaxu version, and the Qi version commented: "It's always Daiyu who can't go away from now on" (the Jiaxu version lacks the word "Zong").In the fourteenth chapter, Zhao'er came back from Yangzhou and reported: "Master Lin disappeared on the third day of September." Sister Feng said to Baoyu, "Your sister Lin has lived in our house for a long time." It can be seen that when Daiyu's father was alive, she could not live in Jia's house all the time.This time obviously conflicts with the third comment.The third comment can only mean that Daiyu's father is deceased, and her mother is the favorite of Jia's mother and children, and now she is dead, so after taking Daiyu back, "you can't go away from now on."In the Jiaxu version, this commentary is flush with the main text. If the status is similar in the original version, it is a commentary copied from an old early edition. The top of the page is incomplete, so it was beheaded and the first character is missing.
The third chapter of the Geng version and the complete manuscript is: "Jia Yucun is predestined to return to her old post, and Lin Daiyu abandons her father and goes to Kyoto".
It turns out that both of Daiyu's parents died when she first arrived, and the third chapter of the Jiaxu edition was newly rewritten, so I didn't notice that there was a contradiction in the chapter.The geng version is the rewritten part of the old version, which was rewritten later, so the title has been changed, but the next sentence "Lin Daiyu threw her father into the capital", Yu Pingbo pointed out that "throwing her father" is inappropriate.Maybe it was changed again because of this, so Ji You and Qi Ben's titles are different again.
After Lin Ruhai's death, it is inevitable to rewrite the second chapter introducing Daiyu's appearance.The original text should also say that Daiyu lost her mother, but in her hometown of Gusu, her father died earlier.Unless the couple died of illness one after another, they would not take office in Yangzhou.
The fourth chapter of the Jiaxu edition, written by Xue Pan, is written as Wenlong, which is consistent with the chapter seventy-ninth chapter of the Geng edition: "Xue Wenlong regrets marrying the Lion in the River East", and the chapters seventy-first to eightieth of the "Gengchenqiu Final Version" are also written in the chapter title. dragon.The original name of Xiangling in Jiaxu was Yinglian, and there was a comment in the first chapter: "Setting up clouds should be pity." The name appeared again in the fourth chapter.The Geng version was written as "Yingju", and Xue Pan's writing started, which should be the omission of the early version, and the current version is Yinglian and Wenlong.
The fifth chapter of the Jiaxu edition has many variations.The eleventh line on the seventeenth page "put diligent and useful efforts in the way of economy", the last sentence is blunt, and there is no confrontation, which is not as stable as his work: "Pay attention to the relationship between Confucius and Mencius, and commit to the way of economy ".The first line on the opposite side of the same page is "It is inevitable that there will be a meeting at the Wuxia Gorge on the balcony". His original work "It is inevitable that there will be a matter of children" seems to be more subtle.On the same page, she married Fairy Jing Huan's younger sister for "a few days", and Jing Huan took the two of them out to travel together.He was originally married "the next day...the two went out to play hand in hand", and arrived at a desolate and terrible place, "suddenly saw Jing Huan chasing after him", and the latter was better, Jiaxu Ben Jing Huan accompanied the newlyweds on a tour, It is written that this Eastern Cupid is a bit puzzled.The three went to this terrible place,
Suddenly, the big river blocked the way, the black water flowed into the ocean, and there was no bridge to pass through. Baoyu was hesitating, only listening to the police illusion: "Baoyu stops moving forward, it is important to turn around quickly."...
He wrote this passage as follows:
There is a black stream blocking the road, and there is no bridge to pass through.While hesitating, he suddenly saw Jing Huan chasing after him, and said: "Hurry up and move forward, it's important to turn around quickly."
The word "流洋" has been changed.Changing big rivers to streams, and changing "hesitation" to "hesitation" all change from exaggeration to blandness.The two "precious jades" are deleted, which is more compact and makes Jing Huan's tone more serious and urgent.
The eleventh line on the same page "deeply bears my former words of understanding the Tao with emotion and keeping the truth", and his original work "deeply bears the words of my previous earnest warning", which is also more natural.There is "a monster like a Yaksha" in the labyrinth, and he originally wrote "many Yaksha sea ghosts".
Baoyu was so frightened that he was sweating like rain, and he shouted, "Keqing, save me! Keqing, save me!" In a panic, the charming woman came up to hold up the handle and said, "Baoyu, don't be afraid..."
──The Jiaxu Version
The geng version is as follows:
Baoyu was so scared that he was sweating like rain, and shouted "Keqing, save me!" so scared that all the maids rushed up and hugged him and called, "Baoyu, don't be afraid..."
"Hude" and "Huande" were changed to "Scared" in the modern vernacular, but only one was changed in Qi's version, and both of the manuscripts were "Hude", and the other versions were the same. "Hold up the handle" to "hug" is the attitude towards children. The semantic meaning of "Calling Keqing to save me" implies several consecutive shouts, so the deletion of "Keqing save me" is not as good as "Calling: Keqing save me!" is just one call.
Hearing this from outside, Mrs. Qin came in quickly, saying that the maids were so happy to watch cats and dogs fight, and heard Baoyu repeatedly calling "Keqing save me", because she was puzzled and said: "..."
──The Jiaxu Version
He wrote:
But it is said that Mrs. Qin was telling the little girls outside the room to watch the cats and dogs fight, and suddenly heard Baoyu call his nickname in his dream, because he was puzzled and said: "..."
In the Jiaxu version, "Qin's family heard it outside", it was when Xiren and others shouted for Baoyu, and when they entered the room, they heard Baoyu call "Keqing save me", because the nightmare cry may not actually be as loud as it thought in the dream. loudly.That ornate bedroom must be so spacious that it cannot be heard from outside.When Qin came in, she still had the spare time to tell the maidservants to watch over the cats and dogs. It can be seen that although she took good care of her, she didn't take it seriously.This paragraph is very delicate and reasonable, but it is not explained clearly, and "maids" are confused with Xiren, even though we know they are maids in her own room.As for why it is so simplistic, it may be because the literary spirit here is too loose and decisive, and it needs to be stopped as soon as possible.
From the next time, there is no text written by Qin Shi after entering the room.Apparently, the sixth chapter was followed by the fifth chapter of the other books. Qin Shi heard Baoyu call "Keqing" in her dream outside the room, and did not come in.Only the fifth chapter of the Jiaxu edition does not connect with the next chapter.The only possible explanation is that it was rewritten at the end of the fifth chapter, and the sixth chapter was also revised accordingly.The fifth chapter of the Jiaxu edition is the first draft, and the other editions are the final drafts of this chapter. This is the strongest evidence.
Why delete Qin's condolences?The younger sister of Baoyu's dream Jinghuan has the beauty of both Chai and Dai, but she doesn't look like Qin's.If the same name implies that the Qin family has the beauty of Chai and Dai, but Baoyu didn't expect it in his dream, then will he find it when he wakes up and faces each other?In short, meeting at this moment is very embarrassing, destroying all the mysterious veils in the subconscious.
Therefore, the other books were changed to "Little Girls", which is different from Xiren and so on. "Xiren and Meiren" comforted Baoyu, and changed it to "Xiren and other maids", because there is no girl named Meiren in this book.But when the previous article first came to Qin's room to take a nap, "only the charming and charming Qingwen, Sheyue and four maids were left as companions", all of which are the same.That's because the changes in the fifth chapter are all on the last two pages, and I didn't see that there was a charming girl in front of me, so I left this one that slipped through the net.
There are a total of five chapters in the Jiaxu book, the first chapter added a new sentence, the second chapter corrected Daiyu's father's death, the third chapter was newly rewritten, and the fifth chapter was completely new or newly revised.There are no double-line small print annotations in these five chapters, which is a feature of the new manuscript, and it has not had time to copy the small print of the clipping and eyebrow comments into the main text.From this point of view, Xue Wenqi, Yingju changed Xue Wenlong, Yinglian, and perhaps other changes in the fourth chapter, all of which were newly revised in this book.
This is when the first five chapters of this book were first formed, and none of the five chapters had back-end formulas or poem couplets.Afterwards, the fifth chapter was rewritten, and two seven-character poems (full manuscript) were added at the end of the chapter, and the prose sentence was changed to a couplet of poems. The Geng version is more correct than the Qi version.
Most of the chapters of this book have the idioms at the end of the chapters, and some add a couplet of poems after the idioms.In the Geng edition, there are only four chapters at the end of which there is only the word "zhengzheng", and the couplet of poems is missing. Every time I end with a couplet of poems, even if the couplet of poems is still missing, I still add "Zhengzheng" as a reminder to make up.The various forms of returning to the end are obviously not a whim, changing tricks, but a systematic restructuring.
At the end of the fifth chapter, there was nothing at first, and then a couplet of poems was added in the rewriting.It can be seen that the formless period at the end of the Hui Dynasty precedes the period of poetry couplets.
There are several couplets of poems under the sentence "Let's listen to the next chapter to decompose".Regardless of whether the poem couplet was added later, it cannot be earlier than the Huimo formula.
As for Huimo formula and Huimo nothing, which one came first──If there was no Huimo formula and it was added later, then the fifth chapter must add "next chapter decomposition" before adding poetry couplets, and there will be no There are only a few poems in this category.There will not be a few times when you still have nothing, because it is much easier to add "next time decomposition" on the blank at the end of the chapter than to delete it. Deleting this sentence is bound to be smeared and needs to be copied again.Apparently, this book originally had a formula at the end of Hui, which was then abolished. However, there were a few chapters that were not touched upon.
In the twenty-ninth chapter, "The grandma is holding the elder sister and carrying the elder sister Qiao", the elder sister and the elder sister Qiao are two people, two sisters.In the forty-first chapter, Grandma Liu named her eldest sister Qiaojie──The eldest sister and Qiaojie are already one person."嫽嫽" is still used in the forty-first chapter, which shows that it is old in the twenty-ninth chapter.Looking at the last chapter, the seventy-fifth chapter of the Geng edition has a date attached to it: "The 7th day of the fifth month in the twenty-first year of Qianlong (1756) to the Qing Dynasty." There are back-end formulas in fifteen chapters, so there are back-end formulas in the early and late stages, and the more special conclusions are in the middle stage.Presumably, I was full of imitation when I started writing. Of course, I followed the conventions of chapter novels. After I matured, I became more experimental. I pioneered the modernization of a chapter.Some people may also find it inconvenient. Readers are used to the "next chapter decomposition". There is nothing at the end of the chapter, and it stops abruptly.
It is probably really difficult for the couplet of poems to be as fresh and appropriate as in the book. I left blank under "exactly" a few times, so I had to give up.
There are not many backs with these two kinds of mid-term back-to-end forms, and a table is listed as follows:
back form
No formulas or poems
Only poetry couplet
套语加诗联
第几回
枻，柸，柘，柀，戌枷庚柣戌柭庚殶，毖庚洳，洙，洚庚洬
戚、全、庚枷；戌、全、庚柅；全、庚柫；柤庚柂─枹，柎庚洇
戚柅；戚、戌柫柷戚、庚柰，柼戚洘
（"戌"代表甲戌本。"全"代表全抄本。只有数目字的是各本相同的。"柂─枹"是第十七、十八回合。）
甲戌本头五回与第二十五回是废套语期的产物，此外庚本还有七回也属于这时期，散见全书。第六至八回有诗联──各本同──属于下一个时期，诗联期。庚本第十七、十八合回也属于诗联期，因此是在诗联期注"俇"字。同期稍后，把这注解移到第六回。
前面提过，第五回回末删去媚人的名字，上半回仍旧有媚人，因为改的都在末两页，前面就没注意。同样的，废套期与诗联期也只影响各期间新写、改写诸回。废套期未触及的各回仍旧保留回末套语，到了诗联期，如果改写这一回，就又在套语下面赘上一副诗联。这是表上"套语加诗联"几回的来源。但是内中第六、第七回是怎么回事？第六回只有戚本属于这一类，其他各本都只有诗联。第七回戚本、甲戌本同是回末套语加诗联，全抄本、庚本只有诗联。
第六至八回这三回仍旧是甲戌本异文最多，如第六回开始，宝玉梦遗，叫袭人不要告诉人，多"要紧！"二字（戚本同），不像儿童口吻，反面削弱了对白的力量。同回平儿称周瑞家的为"周大嫂"，不够客气──连凤姐还称她"周姐姐"──他本都作"周大娘"。第七回薛姨妈说宫花"白放着可惜旧了，何不给他姊妹们带（戴）去？"（戚本同）全抄、庚本作"白放着可惜了儿的"，是更流利的京片子。第二十一回脂批"近日多用可惜了的四字"（庚本第四六六页，戚本同），可见这句北方俗语当时已经流行，不是后人代改的。而且"白放着可惜旧了"不清楚，仿佛已经旧了，使这十二枝宫花大为减色，其实是说"老搁着旧了可惜"。同回焦大骂大总管赖二:"焦大太爷跷起一只脚（戚本作"腿"），比你的头还高呢"，似带秽亵，戚本更甚。全抄、庚本作"焦大太爷跷跷脚，比你的头还高呢"，比较含糊雅驯。第八回宝玉掷茶杯，"打个虀粉"，当指"打了个碎为虀粉"。他本作"打了个粉碎"。以上四项与甲戌本第五回的异文性质相仿，都是较粗糙的初稿，他本是改笔。又有俗字甲戌本写法较特别，如"一扒（巴）掌"（第六回），他本作"一把掌"；"嘴"（第六、七、八回）他本作"努嘴"。
甲戌本其他异文大都是南京话，如第六回"那板儿才亦（也才）五六岁的孩子，"他本缺"亦"字；第七回"亦发连贾珍都说出来"，戚本同，全抄、庚本作"越发"。也有文言，第六回给刘姥姥开出一桌"客馔"，戚本同，全抄、庚本作"客饭"（注十三）。
这些异文戚本大都与甲戌本相同，有几处也已经改掉了，与他本一致。但是戚本第七回有吴语，"尤氏问派了谁人送去"──全抄本第五十九回第一页下也有"这新鲜花篮是谁人编的？"他本无"人"字。弹词里有"谁人"，近代写作"啥人"。第六十七回戚本特有的一段又有吴语"小人"（儿童）──第九页上，第五行。全抄本吴语很多，庚本也偶有（注十四），显然是此书早期的一个特色。
第六回只有戚本有回末套语，回目也是戚本独异，作"刘老妪一进荣国府"。第三十九回回目"村姥姥是信口开河，情哥哥偏寻根究底"，戚本作"村老妪是信口开河，痴情子偏寻根究底"，全抄本作"村老妪谎谈承色笑，痴情子实意觅踪迹"。前面提起过，全抄本此回几乎全部用"嫽嫽"，显然是可靠的早本，回目也是戚本回目的前身，"村老妪"这名词是书中原有的。
第四十一回回目，戚本也与庚本不同，作"贾宝玉品茶栊翠庵，刘老妪醉卧怡红院"（程本同，不过"老妪"作"老老"）。显然戚本"刘老妪"的称呼前后一贯，还是早期半文半白的遗迹。
第七、八两回回目纷歧。第七回戚本作"尤氏女独请王熙凤，贾宝玉初会秦鲸卿"，称尤氏为"尤氏女"，仿佛是未嫁的女子。甲戌本作"送宫花周瑞叹英莲，谈肄业秦钟结宝玉"，称周瑞家的为周瑞，更不妥。下句"秦钟结宝玉"，其实是宝玉更热心结交秦钟。庚本"送宫花贾琏戏熙凤，宴宁府宝玉会秦钟"，上句似乎文法不对，但是在这里"送宫花"指"当宫花送来的时候"，并不是贾琏送宫花。但是称白昼行房为戏凤，仍旧有问题，俞平伯也提出过。
第八回戚本作"拦酒兴李奶母讨恹，掷茶杯贾公子生嗔"，"贾公子"与"尤氏女"都是此书没有的称呼，带弹词气息。
甲戌本此回回目作"薛宝钗小恙梨香院，贾宝玉大醉绛芸轩。"全抄、庚本作"比通灵金莺微露意，探宝钗黛玉半含酸"，似乎是后改的，因为第三十五回才透露莺儿原名黄金莺，那一回回目"白玉钏亲尝莲叶羹，黄金莺巧绾梅花络"，显然是现取了"黄金莺"的名字去对"白玉钏"。
统观第六、七、八回，这三回戚本、甲戌本大致相同，是文言与南京话较多的早本，戚本稍后，已经改掉了一些，但是也有漏改的吴语，甲戌本里已经不见了的。庚本趋向北方口语化，但是也有漏改的地方，反而比戚本、甲戌本更早。全抄本的北边话更道地。例如第七回焦大说:
这等黑更半夜（庚本，半文半白──早本漏改）
这样黑更半夜（戚、甲戌本，普通话。南京话同）
这黑更半夜（全抄本，北方话）
但是戚本、甲戌本也有几处比他本晚，如第六回刘姥姥对女婿称亲家爹为"你那老的"，甲戌本有批注:"妙称。何肖之至！"全抄本作"你那老人家"，庚本误作"你那老家"。既然批者盛赞"老的"，作者不见得又改为"老人家"。当然是先有"老人家"，后改"老的"。
第七回周瑞家的送宫花，"穿夹道，彼时从李纨后窗下过，隔着玻璃窗户，见李纨在炕上歪着睡觉呢。"（庚本第一六四页。全抄本次句缺"彼时"，句末多个"来"字。甲戌、戚本缺加点的十九字，批注:"细极。李纨虽无花，岂可失而不写，故用此顺笔便墨，间三带四，使观者不忽。"）别房的仆妇在窗外走过，可以看见李纨在炕上睡觉，似乎有失尊严，尤其不合寡妇大奶奶的身分，而且也显得房屋浅陋，尽管玻璃窗在当时是珍品。看来是删去的败笔。甲戌、戚本有批注，可见注意此处一提李纨，不会有遗漏字句或后人妄删。
周瑞家的送花到凤姐处，"小丫头丰儿坐在凤姐房中门槛上"，摆手叫她往东屋去:"周瑞家的会意，忙蹑手蹑足往东边房里来，只见奶子正拍着大姐儿睡觉呢。周瑞家的巧（悄）问奶子道:姐儿睡中觉呢？也该请醒了。奶子摇头儿。正说着，只听那边一阵笑声，却有贾琏的声音。"（庚本第一六四页）全抄本同，甲戌、戚本作"奶奶睡中觉呢？…………正问着，……"当然是后者更对，但是前者也说得通，不过是随口撘讪的话，不及后者精警。
同回秦钟自忖家贫无法结交宝玉，"可知贫窭二字限人，亦世间之大不快事"（庚本第一七一页）。全抄本"窭"误作"缕"。甲戌、戚本作"可知贫富二字限人，"句下批注:"贫富二字中失却多少英雄朋友。"王府本批:"此是作者一大发泄处，可知贫富二字限人。总是作者大发泄处，借此以伸多少不乐。""限人"比"陷人"较平淡，而语意更深一层，也更广。三条批语指出这句得意之笔的沉痛，王府本的两条并且透露这是作者的一个切身问题。
以上四点都是文艺性的改写，与庚本、全抄本这三回语言上的修改，性质不同。
第七回的标题诗写秦氏，末句"家住江南本姓秦"，书中并没提秦家是江南人或是在江南住过。秦氏列入"金陵十二钗"，似乎只是因为夫家原籍金陵。第八回标题诗:
古鼎新烹凤髓香，那堪翠斝贮琼浆？莫言绮縠无风韵，试看金娃对玉郎。
第四十一回妙玉用"斝"给宝钗吃茶，"旁边有一耳"──与茶盅不同──给宝玉用她"自己常日吃茶的那支绿玉斗"，"斗"似是"斝"字简写，否则"斗"仿佛是形容它的大，妙玉自己日常不会用特大的茶杯。而且她又"找出整雕竹根的一个大来，笑道:你可吃的了这一海？你虽吃的了，也没这些茶糟塌。……执壶只向海内斟了约有一杯。"起先那绿玉"斗"一定也不过一杯的容量。
从第八回的标题诗看来，宝玉这次探望宝钗，用绿玉斝喝酒──后文当然不会再用这名色──而且没有黛玉在座，至少开筵的时候黛玉还没来。这两首标题诗都与今本情节不符，显然来自早本，比用"嫽嫽"的第四十一回更早。无怪第七回那首诗只有戚本、甲戌本有，第八回这首更是甲戌本独有，因为戚本已经改掉了一些早本遗迹。
甲戌本在废套语期把第六、七、八这三回收入新的本子，换了回目。第六回开始，宝玉"初试云雨情"一段，其实附属废套期新写的第五回，是梦游太虚的余波或后果。稿本都是一回本，正如现代用钢夹子把一章或一篇夹在一起，不过线装书究竟拆开麻烦，因此最简便的改写方法是在回首或回末加上一段，只消多钉一叶。第六回回首添上"初试云雨情"一段，过渡到早本三回，又把此回刘姥姥口中的"你那老人家"改为"你那老的"。戚本此回显然在这期间及时抽换改稿，因此回首新添的一段有秦氏进房慰问，又把"老人家"改"老的"，但是漏删回末套语；此后经过诗联期，在套语下加上一副诗联，又再抽换回首一段，改写秦氏未进房的今本，但是漏删"要紧！"二字。
甲戌本第七回改写三处──删李纨睡在炕上等等──戚本都照改。看来这三处与第六回的改写一样，都是废套期改的。戚本第七回也在这期间抽换新稿，但是这次甲戌本与戚本一样漏删回末套语。当然此回改写三处都不在回末，容易忘了删"下回分解"。但是第六回也不过回首加了一段，上半回又改了两个字，距回末还更远，怎么倒记得删回末套语？因为甲戌本头五回都删了回末套语，一口气删下来，第六回也还特为掀到回末，删掉套语，此后就除非改写近回末部份，才记得删。
庚本与全抄本这两个早本，在废套期都没有及时抽换，因此第六、七两回改写的四处与回首添的一段都没有。作者显然是在诗联期在这两个本子上两次修改这三回的北方话，方才连带的抽换改稿，所以第六回回首加的"初试"一段已经是今本，秦氏未进房。因为是诗联期改的，三回回末都只有诗联。第七回回目改来改去都不妥，最后全抄本索性删去再想。
第八回在废套期改写过──可能就是不符合标题诗的情节──因此各本一致，都没有回末套语，诗联期加诗联。庚本、全抄本这两个改了北方口音的晚本，此回回目也是后改的，提到第三十五回才编造的名字:金莺。
把这三回的一团乱丝理了出来，连带的可以看出除了甲戌本，这些本子都是早本陆续抽改，为了尽可能避免重抄，注重整洁，有时候也改得有选择性。正如全抄本始终用"旷"与"姆姆"，戚本始终用"嫫嫫"，又常保留旧回目，因为改回目势必涂抹，位置又特别刺目。白文本就忠于底本，不求一致化，所以用"旷"而又有一个""，正如头四回没有回末套语，仍是本来面目。因此白文本虽然年代晚──否则不会批语全删──质地比那两个外围的脂本好。
因为长时期的改写，重抄太费工，所以有时候连作者改写都利用早本，例如改北方话改在两个早本上，忘了补入以前改写的几处，更增加了各本的混乱。
甲戌本头八回本来都是废套语期的本子，不过内中只有前五回是重抄过的新稿，后三回是早本，还在用"嫽嫽"，废套期其实已经采用"姥姥"──见庚本第三十九回──但是第六回改"姥姥"改得不彻底。这三回当时只换了回目，除了第八回