Jia Baoyu is undoubtedly the No. 1 character in the film, and the discussion cannot but involve him.My Qinology does not only study Qin Keqing, I just start from Qin Keqing, and first find out the background of Cao Xueqin's writing of this book, his family and his personal destiny, his creative psychology, and the challenges he faced when he wrote the book. Huge external pressure and inner pain.I have already told you in the previous lectures that I think Cao Xueqin has politics in his heart, and it is impossible not to. He has political tendencies. It's different.Their family originally thought that Kangxi's crown prince Yin, who was established twice by Kangxi, should be the one who succeeded Kangxi as emperor. Their family had a very close relationship with this prince who almost became the fifth emperor in the history of the Qing Dynasty, but what happened later, But Yongzheng became the emperor.Yongzheng treated his family very badly and they were punished. It is natural for him to be dissatisfied with Emperor Yongzheng.Later, Yongzheng died violently and Qianlong succeeded to the throne. Qianlong worked hard to heal the political scars left by the Yongzheng period. The Cao family benefited from this soft policy, so Cao Xueqin should be more acceptable to Qianlong.He didn't want to interfere with the times, that is to say, he didn't want to act as a dissident in the Qianlong Dynasty and write a book expressing his opposition to Qianlong's rule.He doesn't want to engage in politics, but politics is something that he can't easily spare the Cao family.The remnant forces of the abolished prince, especially the eldest son Hongxi of Yin (the name had been changed to Yun during Yongzheng), thought he was the eldest grandson of Kangxi, and wanted to seize the throne. For this reason, of course, they had to search for available social resources. Needless to say, the Cao family is one of the first choices.So Cao Xueqin's parents were involved in Hongxi's rebellion, and his family suffered a devastating blow.After Qianlong dealt with the Hongxi rebellion case, he destroyed the relevant files, so that Cao Xueqin's family reached his generation, and there were almost no official written records left.But according to some unofficial materials of the time, we can know that Cao Xueqin is indeed Cao Yin's grandson, and he wrote this great work.

There are politics and political leanings in it, and there are even political slang words like "Yu Zhen of Lai Fan County", and through the character of Lin Daiyu in the book, she calls the emperor a "stinky man". I have already mentioned these things.But I have also repeatedly told everyone that when Cao Xueqin wrote this book, his ultimate goal was to transcend politics and reach a higher spiritual realm.When I analyzed Miaoyu in the previous few lectures, I pointed out that the shaping of Miaoyu’s image has shown that the author’s thinking has surpassed general political sentiments. He told us that there is a more important concern in life than paying attention to who the power belongs to, that is, no matter how Under the current political and social situation, we must maintain the dignity of individual life, and we must independently decide our own feelings, lifestyle and life destination.

But Jia Baoyu can better reflect Cao Xueqin's transcendence of politics, his advanced, even eternal, humanistic artistic image that is universally applicable to all human beings.Cao Xueqin really worked hard to shape the artistic image of Jia Baoyu.He devised an identity from the heavens for him. However, a red fan friend discussed with me, he said that he read it, and read it a bit confused.At the beginning of the first chapter, it was written that Nvwa refined 35,601 stones, and all 35,600 pieces were used to mend the sky. Abandoned at the foot of Qinggeng Peak, Wuji Cliff, Dahuang Mountain.Because of its lack of talent to mend the sky, it complains and sighs, and wails day and night ashamed.Later, a monk came and talked about the situation in the world in front of him, and it begged them to take it into the world of mortals to experience the joys and sorrows of the world, singing and crying about life and death.So the fairy monk cast a lot of magic to make it big or small, and finally it became the size of a fan pendant, and engraved it with words, and then brought it to the world, and let it go down to the prosperous and prosperous state, where the poems and ceremony hairpin tassels The family, the prosperous land of flowers and willows, the gentle and rich township.So, is this descending stone the same as Jia Baoyu in the book?

I told that red fan friend that the stone is not Jia Baoyu.He was not convinced. He said that in the fifth chapter of "Lifetime Mistakes", the first sentence said in Jia Baoyu's tone: "Everything is a golden and jade marriage. I only read the Mushi Qianmeng." "Woodshi Qianmeng" does not mean Is it Jia Baoyu and Lin Daiyu's free love and vow to become a couple?In the thirty-sixth chapter, when Jia Baoyu was taking a nap, Xue Baochai was sitting by his couch embroidering mandarin ducks. He suddenly shouted in his dream, "How can you trust the words of the monks and priests? What is the marriage of gold and jade? I would say it is the marriage of wood and stone!" Jia Baoyu Since he is compared to a "stone", doesn't that mean that he is the leftover stone from Nuwa who patched up the sky and descended to the human world?

I reminded that red fan friend, who Jia Baoyu is in the heaven, is clearly explained in the book.It was also in the first chapter, when you look down, you will see Zhen Shiyin, who was dreaming, dreaming of a monk together, saying that he was going to find Fairy Jing Huan, and handed over to her some "fair friends" who were waiting to go down to earth. Arrangements, and said to bring a "stupid thing" into it, let it go down to earth to experience experiences together, remember?Later, Zhen Shiyin approached him and asked to show him the "stupid thing", and he was allowed to see it, but he did not imply that the "stupid thing" was the future Jia Baoyu.On the contrary, before watching "Stupid Things", Zhen Shiyin heard a fairy tale told by an immortal monk, which is by the Sansheng Stone on the bank of the Ling River in the west. Pay attention, that is a completely different space from the Qinggeng Peak of Wuji Cliff in the Great Barren Mountain. , there is a Chixia Palace, in which lives a waiter Shenying, who is going down to earth now.Because he waters a plant of crimson pearl fairy grass with rain and dew every day, and the fairy grass will go down to earth after being cultivated into a female body, so when it comes to the world, the woman will spend her life's tears to repay the grace of irrigation by the waiter of Shenying .And this is the celestial identity of Jia Baoyu and Lin Daiyu.Red fans put their finger on it, saying how many concepts and problems have arisen:

What did the piece of Nuwa's remaining sky-patch stone on the Qinggeng Peak of Wuji Cliff in the Dahuang Mountain turn into from the fairy world to the human world? Since Jia Baoyu came down to earth as the servant of Shenying from Chixia Palace in the heaven, Chixia and Shenying both refer to jade, and his name in the mortal world itself shows that he is as precious as jade. What about "former alliance" and "marriage of wood and stone"? The piece of psychic jade that Zhen Shiyin and Xue Baochai saw in the dream in the eighth time in Lixiangyuan should be transformed into the leftover stone of Nuwa's mending the sky, right?Then, as a "waiter", Jia Baoyu, what is the name of the "Shenying" he serves?

This red fan noticed that the popular version may have modified and simplified the relevant text of the ancient version to save trouble, and drew equal signs for the remaining stone of Nuwa's sky repair, the psychic gem and the waiter of Shenying, which means that they are a trinity. They are all Jia Baoyu.As a result, the narrative text written in some ancient books with the breath of Nuwa's remaining stones, of course, was all deleted.For example, in the ancient book, when the concubine of the Yuan Dynasty came to see her relatives, there was a passage written in the tone of a stone, saying that I could only see the indescribable peace and prosperity in the garden. At this time, I recalled how desolate and lonely I was at the foot of the Qinggeng Peak in the Great Barren Mountain. , if it weren't for the demented monk and the lame monk who brought them here, would they be able to see such a world? ?He also said that he wanted to write "Lengyue Fu" and "Ode to Parents" to record today's events, but he was afraid of falling into the clichés of other books.This red fan friend said that when he read such words in the ancient book, he once thought that Cao Xueqin designed Jia Yuanchun's origin as the stone left over by Nuwa to mend the sky, because he wanted to write "Fu on the Lantern Moon" and "Ode to Family". ", it should be Jia Yuanchun.I think that the relationship between these concepts can be clearly understood by reading the ancient texts carefully.

The leftover stone of Nvwa's sky patching at the foot of Qinggeng Peak on Wuji Cliff in Dahuang Mountain was shrunk to the size of a fan pendant and engraved with characters. It was originally a thing that had not cultivated a human body, so the immortal monk called it a "stupid thing".It alone cannot descend to the human world. It can only be entrained in the world when Fairy Jing Huan scattered a group of romantic friends and arranged to be reincarnated into the world. Therefore, it is actually what Jia Baoyu held in her mouth when she was born. That psychic gem.In the eighth chapter, Xue Baochai took a close look at it in his palm. It was as big as a bird's egg. Although the word "big" was used, it actually meant that it was very small, because the egg laid by a bird is very small. A fat baby Being born in the mouth - not fully contained in a closed mouth - makes perfect sense.Therefore, Jia Baoyu is Jia Baoyu, and Tongling Baoyu is Tongling Baoyu, but they came to the world at the same time, and Jia Baoyu wore it every day to survive together. There is a mysterious relationship between them, once Jia Baoyu is lost Without it, there will be a serious crisis physically and mentally. Cao Xueqin designed it in this way.

According to Cao Xueqin's conception, the stone of Qinggeng Peak was carried down to earth, and was later worn by Jia Baoyu around his neck from time to time, becoming a witness; To kill them—when they were almost dead, because of the arrival of the immortal monk, they took it in their hands and recited it. As a result, as the inscription on it claimed, they could get rid of evil spirits and heal their injustices, and the uncle and sister-in-law recovered as before. .Because it has spirituality, it is not an ordinary adornment or mascot. Therefore, it can see and hear wherever Jia Baoyu goes, but it can know everything when Jia Baoyu does not take it.As a witness of the joys and sorrows of the world, it finally returned to Qinggeng Peak, and Taoist Kongkong discovered it. At that time, it had recovered the shape of a huge stone, and it was full of words. What words?That is, it should be the words we see now, they were copied by Taoist Kongkong and spread to the world.

Because in the book, Taoist Kongkong called the remaining stone of Nuwa's mending the sky "Brother Shi", and the two discussed the writing on the stone, so some commentators believe that, that is, its author should also be "Brother Shi" , this "Brother Shi" really exists in life.So who is Cao Xueqin?He read ten years in Mourning Hongxuan, added and deleted five times, compiled a catalog, and divided chapters. Although he has done so much work, he is only an editor. He sorted out and edited the original manuscript of "Brother Shi"; Some people only admit that the poems and songs in the book were written by Cao Xueqin, and he filled them in other people's manuscripts; some people even say that Cao Xueqin is a homonym for "copying Qin", and this person's job is mainly to copy the manuscripts that others have written.Some people may be surprised to see some people’s views introduced by me because they have never been in contact with Hongxue before, and they are very willing to agree with them just because of the novelty of the arguments, and even go to the channel with their relatives and friends.In fact, that is, who is the author? From the past to the present, there have been disagreements in the red academic circles. In addition to thinking that the original author is "Brother Shi", there are also people who think it is Cao, or think that it is Cao Shun, or think that it is Cao. Yin’s other nephew, some people even think that the author is Wumei Village just because the names of “Wu Yufeng”, “Kongmeixi” and “Tangcun” appear successively in the text and comments of the first chapter (because each of the three names has a word in the person's name)? ?In my opinion, regarding who the author is, the above viewpoints, as well as other opinions put forward, should be allowed to exist, and can be used as a reference for readers.However, after years of research and discussion in the red academic circles, it is Cao Xueqin's original work, and this conclusion is affirmed and recognized by the vast majority of people.I personally also firmly believe that the author is Cao Xueqin, and the argument that the author is someone else is completely guesswork and conjecture.For example, there is speculation about the author being Wu Meicun. Wu Meicun (1609-1671) was a literati in the late Ming and early Qing Dynasties. He died in the eleventh year of Kangxi. The heel doesn't match the tenon, so it couldn't have been written by him.The exclusive copyright owned by Cao Xueqin can be proved by many documents.For example, Fucha Mingyi wrote twelve poems titled "A Dream of Red Mansions". In the preface, he said bluntly: Cao Zixueqin wrote a book to remember the prosperity of Fengyue. "Zhuan" means writing, without the meaning of editing and sorting in it, and writing by a certain person means writing by a certain person.Fucha Mingyi was born in the early years of Qianlong, and Cao Xueqin died when he was about 27 or 28. They were contemporaries.Although they did not know each other when Cao Xueqin was alive, the information obtained by Fucha Mingyi should be accurate.Five or six years after Cao Xueqin's death, another nobleman, Yongzhong—whose grandson is he, or who is his grandfather?It is Yinzhen, the fourteenth elder brother of Kangxi that I mentioned many times before (the "zhen" in "Yuzhen of Lai Fan County" is a word in his name. It was changed, the word Yin was changed to Yun, the word Zhen was changed to a very strange word, a yes was added to the side of the word, and the last stroke of the word was lengthened, put into a page word, read as "ti").This is of course a royal descendant of noble blood—he got a copy from a man named Mo Xiang. After reading it, he was very excited and wrote three poems in one breath. The first one was written like this: " The vivid words are enough for thousands of years, and it is not a lover who does not cry. It is hateful that we do not know each other at the same time, and weep Caohou several times!" In the second song, he praised: "Sancunrou can write everything, and I want to call him one of the best." He It is a contemporary of Cao Xueqin, and he knows that Cao Xueqin wrote it. If he thought Cao Xueqin was just an editor and copyist, would he write poems like this, calling Cao Xueqin "Marquis Cao" and praising his writing style?Well, I won’t list any more materials, and I can’t come up with such solid evidence for various other claims about this or that writing.

In fact, he cannot be the author of "Brother Shi" who appears in Wedge (this part of the text is only available in the Jiaxu edition), and Cao Xueqin cannot just be the editor who reads additions and deletions. A very clear statement: "If Yun Xueqin reads additions and deletions, then (then) who wrote the article from the beginning of the book? It shows that the author's pen is very cunning. There are so many wonderful things in the following texts. Where the smoke and clouds are blurred, the viewer must not be deceived (covered) by the author, it is the giant eyes." (The words in the brackets are original copy errors, which have been corrected by experts in red studies. In order to avoid trivialities, such explanations will not be added in the future .) I said it is self-narrative and autobiographical, but its text is not written in the same tone as a person telling his own experience.When we write vernacular Chinese now, we pay attention to the narrative person. Generally, the first person and the third person are used, and the second person is rarely used, and two or three persons are mixed.When Cao Xueqin wrote it, there were no literary theories about the narrator, but his narration text was very sublime.In my opinion, he set up a stone in the heavenly realm, saying that after going through some experiences in the human world, he returned to the heavenly realm, and after returning back, there were eloquent inscriptions on the stone. It also avoids the objective limitations that are generally told in the tone of "him", making the whole text present a dreamlike poetic flavor. So, since Jia Baoyu did not descend from a stone, why did he claim that his fate with Lin Daiyu was "a former alliance between wood and stone"?Jia Baoyu lives in the Chixia Palace in the Heaven Realm—a space different from Qinggeng Peak in Wuji Cliff in Dahuang Mountain, beside the Sansheng Stone on the bank of the Ling River in the west.Chi Xia, when I was talking about Miaoyu, I actually mentioned it by the way, do you remember?It is jade with red spots.Zhiyanzhai's annotation pointed out that this is sick jade.Jia Baoyu is not a flawless and beautiful jade in the sky. Cao Xueqin's design has a profound meaning. It is similar to the disposition formed after Jia Yucun said that Jia Baoyu also belonged to the fight between good and evil.Jia Baoyu is Shenying's waiter in the heaven - Ying, you can look it up in the dictionary, what does it mean?It does not mean flawless and beautiful jade, Ying means "beautiful stone like jade", which is essentially a stone, but just like jade.Therefore, although the parents think that Jia Baoyu is as precious as jade, he himself knows that he is closer to a stone, and even jade is a piece of sick jade, so he calls his marriage with Crimson Pearl Immortal Grass a "marriage of wood and stone", This is very reasonable.Of course, the remaining stone of Nvwa's mending the sky came to the world together with Jia Baoyu's mouth, which means that as early as in the heaven, he was destined to serve "Shenying", that is, this special stone.The name of the waiter Shenying should also be understood in this way. Mr. Zhou Ruchang recently wrote a series of articles, putting forward his unique opinion. He believes that the "wood" in "Music and Stone Marriage" and "Wood and Stone Marriage" all refer to Shi Xiangyun, and even the "gold" in "Golden and Jade Marriage" also refers to Shi Xiangyun, because Shi Xiangyun is wearing a golden unicorn.He thought that Jia Baoyu felt more pity for Lin Daiyu than love, and Lin Daiyu returned tears to Jia Baoyu, because he had admitted the wrong person. In fact, Shenying's waiter was Zhen Baoyu, and Jia Baoyu was the big rock under Qinggeng Peak? ?Mr. Zhou is the strongest supporter of my consistent Qin studies. I am his private disciple, and my admiration and gratitude to him cannot be expressed in words.Moreover, many people who have listened to my lectures and read my works on red studies pointed out that my general thinking and many viewpoints are after Mr. Zhou.Of course, some of them coincided with each other, and some of them were affirmed by me first, such as the interpretation of the Four Immortal Girls in the Illusory Realm, Prince Yue Yu, who thought that Jia Zhen was the most masculine man in the Jia family, and said for him " Nice words", and so on.Because there are so many overlaps with Mr. Zhou’s views, some readers doubt whether I have plagiarized Mr. Zhou’s academic achievements.Here I would like to explain by the way that where my writing overlaps with Mr. Zhou's point of view, the use and promotion of it is permitted by Mr. Zhou.To be honest, from the perspective of self-motivation, this lecture of mine is intended to promote Mr. Zhou’s views and make them more popular, but it is not convenient for me to point out that such views were first proposed by Zhou Ruchang’s predecessors It has been strongly argued.However, after all, my research experience is different or even contradictory with Mr. Zhou's—I love my teacher, and I love the truth more—so here, I have to explain to you that I disagree with Mr. Zhou's opinion about stones. . When Zhen Baoyu fell in love, and Shi Xiangyun was the number one heroine.My point of view has already been said a lot above, and I will continue to elaborate on it below. I am conducting archetype research. As mentioned earlier, I think Jia Baoyu’s archetype is Cao Xueqin himself, so I think it has the characteristics of autonarrative, autobiographical, and family history.But to say that there are prototypes in the artistic image does not mean that the two are equated, nor does it mean that the prototype as an artistic image must be one-to-one, and some are formed by the combination of two people.For example, I have analyzed in detail for you earlier that the prototype of the King of Beijing is the two generations of grandparents and grandchildren in life. They are two people. Through comprehensive imagination, Cao Xueqin merged them into an elegant image of a young county king. When was Cao Xueqin born?There are many theories in red academic circles, but I personally follow the textual research of Mr. Zhou Ruchang.He pointed out that Jia Baoyu’s birthday was written in the text, and the date was not specified. However, Cao Xueqin’s twenty-seventh chapter wrote that on April 26th, the Grain Grain Festival was celebrated. When it comes to making shoes for him, it is actually a birthday present for my brother; then I write that Feng Ziying invited Baoyu to a banquet, and suddenly Shuangrui Shuangshou appeared among the servants who went with him. He did not appear again; he also wrote that Taoist Zhang of Qingxu Temple performed the Christmas ceremony for the "King of Shrouding the Sky" on April 26. Baoyu should have gone there; after Baoyu lived in the Grand View Garden, he pointed out that people outside Knowing that this twelve or thirteen-year-old son in Rongguo Mansion wrote good poems and calligraphy; he also wrote that when Baoyu and Sister Feng were dying from nightmares, the immortal monk suddenly appeared, holding the psychic gem and recited it, and said to the psychic Baoyu said: "It's been thirteen years since I left Qinggeng Peak!"The psychic Baoyu is not Jia Baoyu, but the "fool" came to the world with Jia Baoyu in Jia Baoyu's mouth. They are of course the same age in the world. It can be seen that in the year written in the book, the protagonist Jia Baoyu was thirteen years old.Check the Wannian calendar, the second year of Yongzheng, that is, 1724 A.D., this year is leaping in April, and the 26th day is exactly the seedlings. From that year to the first year of Qianlong written in the book-I have already mentioned it before. It has been demonstrated in detail that the real historical background of the above plots is the first year of Qianlong, and I will not repeat it here-it is exactly thirteen years, and the reality of life and artistic description are aligned.Cao Xueqin really shaped Jia Baoyu's artistic image based on himself and as the core of the prototype.Some people may ask, why didn't Cao Xueqin mention Jia Baoyu's birthday in the book?He wrote the birthdays of many other characters, and he clearly wrote the dates. For example, Jia Yuanchun was on the first day of the first month, Xue Baochai was on the 21st day of the first month, Lin Daiyu was on the twelfth day of February, Tanchun was on the third day of March, and Qiaojie was on July. Seventh, Jia Mu is on the third day of August, Wang Xifeng is on the second day of September, and so on.Since the twenty-sixth day of the fourth month has been written in the pen, why didn't he refuse to say that that day was Baoyu's birthday?In my opinion, first, he used himself as the prototype to create the image of Jia Baoyu, but his birthday is in a leap month, which doesn’t happen every year, so it’s troublesome to tell the truth, and he doesn’t want to make up another day, but It is also very flavorful to write in such a subtle way.Second, this is the main reason. He actually idealized Jia Baoyu from appearance to spirit. The elements of some familiar characters in his life, Jia Baoyu in his works, have finally become an independent life that no one can replace, and this is also the great success of his art.Yu Rui, I mentioned this person at the beginning of the lecture. He was born about eight years after Cao Xueqin passed away, so he was not a person who was far away from Cao Xueqin in the era.His elders were contemporaries of Cao Xueqin, and some of them knew Cao Xueqin and had contacts with him.He has such a record in "Zao Chuang Xianbi": "I heard that there are people who have made good friends with the relatives of the elders. He has a fat head and a dark complexion. He is good at talking, elegant games, and springs up when he touches the scene. Hearing his strange talks, he is eloquent. However, it makes people tireless all day long, because his books are exquisite and perfect. I also heard that he tasted a joke saying: If someone wants to read my book quickly, it is not difficult, but I will write a book for him if he enjoys me with southern wine and roast duck every day. cloud.” This record should be reliable. Some friends who are red fans may accept all the statements about Cao Xueqin's character, talent, life and creative situation when I cite such a piece of information, but the description about Cao Xueqin's appearance in it-although Yurui is According to the description of Cao Xueqin's appearance by the senior in-laws who have personally interacted with Cao Xueqin-it may be difficult to accept.You may ask, why is this so?The prototype of life actually looks like this, which is completely opposite to Jia Baoyu's appearance in the book!I think that might be the case.When Cao Xueqin wrote the book, he was "fat, broad-headed and dark-skinned". He wrote it and kept it secret from some of his friends.His good friend Dun Cheng confided in his poems that there is a sentence in his poems, "It is better to write a book about Huangye Village" in his poems. After his death, another friend Zhang Yiquan also mourned him in his poems. The saying that the soul is hard to return, and Bai Xuege's dream is still growing" shows that they all know that Cao Xueqin wrote the book in the village, and what he wrote is just that; although he wrote it after eighty chapters, it is too late to repair the burr and organize the whole manuscript , the latter is lost, unfortunately incomplete, it should have been a long dream, but it was disabled. From the reality of life to the creation of art, the author has a very broad imagination.Cao Xueqin may not have been fat, his head was not too big, and his skin was not dark in his youth, but he may not have the appearance and demeanor of Jia Baoyu in the book.In the third chapter, by writing that Lin Daiyu first met Jia Baoyu, he described him as having a face like the moon in the Mid-Autumn Festival, a color like flowers in the dawn of spring, temples cut like knives, eyebrows like ink paintings, a face like peach petals, and eyes like autumn waves; the twenty-third chapter It is written that when Jia Zheng raised his eyes, he saw Baoyu's elegant spirit and beauty, and then looked at Jia Huan. It's a good idea, it's okay if Jiamu, Mrs. Wang, etc. favor him a little - even Aunt Zhao admits that he has a good image; by the time of the seventy-eighth chapter, the Grand View Garden has been searched at that time, Qingwen has died young, and Baoyu Both physically and mentally suffered a major blow, but Cao Xueqin still wrote such a stroke, do you have any impression?Qiuwen pulled Sheyue, pointed to Baoyu and praised him, saying that the blood-red trousers, with the pine-colored jacket and stone-green boots, showed more and more the indigo head and snow-white face.This is how Cao Xueqin described Jia Baoyu's appearance. This should be a second creation of the prototype life, resulting in a unique artistic image, which is more real, more vivid and more poetic than the existence of life itself. , with immortal vitality. As I have repeatedly emphasized above, Cao Xueqin's purpose in writing is not to write a political book.He has political inclinations, and he takes the big political structure as the background of the whole book, but the ultimate goal of his writing is to transcend politics, write higher-level things, and express thoughts that are more eternal than political opinions.He created such an image of Jia Baoyu to go to this higher level. Jia Baoyu in the book is entangled with the politics of "double hanging sun and moon shining on the universe" in the book, that is, the struggle for supreme power.He had a close relationship with Feng Ziying and other highly political figures, and even because of his friendship with Jiang Yuhan, he was involved in the battle for Jiang Yuhan between King Zhongshun and King Beijing. For this reason, he was beaten to pieces by his father Jia Zheng , and he did not repent afterwards.He also often expressed some political views-he named those who made progress in studies "Lubei"; he also slandered monks and Taoism-in that era, imperial power was combined with divine power. Monk and Taoism are what the emperor believed in, and Yongzheng paid special attention to this aspect. Before he came to the throne, his Yongwang Mansion was already a lamasery, and now it has left us a famous scenic spot in Beijing, the Lama Temple; Jia Baoyu also made a sarcastic attack on "Admonishment to the death of literature, and war to the death of martial arts"; he made a lot of nonsense about the theoretical foundation of politics at that time, Confucianism and Mencius, saying that there are no books except "clear and bright virtue"; matching his distaste for real politics, he In terms of behavior, he was lazy to chat with the men of scholar-bureaucrats, and he hated things such as wearing crowns, gowns, congratulations and hangings; he even said angrily just because Xue Baochai persuaded him to study and improve his studies: "Be a good one and be clean." The pure white daughter also learned how to gain fame and fame, and joined the ranks of national thieves and ghosts!"? ?These are all familiar to everyone. In the past, when analyzing Jia Baoyu in the red academic circles, they must mention them, and they would draw the conclusion that he had anti-feudal and progressive ideas, saying that he was a newcomer in that era, and some even went even further. Concretely demonstrated that Jia Baoyu was a typical image of the emerging citizen class at that time. The above factors were extracted from the artistic image of Jia Baoyu, plus he and Lin Daiyu read secretly, boldly fell in love, were willing to get married, and yearned for independent marriage. From this, he came up with an idea of ​​anti-feudalism and striving for individual liberation. I agree with the positive reviews.However, I think it is superficial to understand Jia Baoyu in this way.In fact, Cao Xueqin did not focus on expressing his opposition to bad politics and how to have good political thoughts in him when he created this character.From my personal understanding, what Cao Xueqin wanted to show through Jia Baoyu was the transcendence of political utilitarianism. Cao Xueqin wrote that there are political factors in his creative psychology. Writing such a novel with the nature of autonarrative, autobiography, and family history, he could not avoid the political experience his family experienced in the three dynasties of Kang, Yong, and Qian. The storm cannot avoid the ups and downs and destruction of his family in the political storm, and he cannot fail to write characters like Qin Keqing and Jia Yuanchun who are directly linked to politics, especially Qin Keqing. The so-called mystery of this character is the hidden side of politics. The hideous face was covered with a layer of beautiful gauze.But now I want to tell you that when Cao Xueqin wrote this book, he had a self-control, which can be found in ancient books.He originally wanted to write more stories about Qin Keqing, "I live in Jiangnan and my surname is Ben Qin", probably wanting to fabricate Qin Keqing's family background to Jiangnan.Of course, it is impossible to determine exactly which river he originally planned to be south of—not necessarily the south of the Yangtze River.I talked about Miaoyu a few times, and said that in the seventeenth and eighteenth chapters, a servant reported Miaoyu's situation to Mrs. Wang. who?Isn't it Lin Zhixiao, the chief steward of the Rongguo Mansion? ——I deliberately didn't say the name Lin Zhixiao, because I couldn't stick out the branch when talking about Miaoyu.Now, finally, the time has come when the branch has to go out.Well, let me tell you, in several major ancient books, the servant who reported the situation to Mrs. Wang in the seventeenth and eighteenth chapters did not write about Lin Zhixiao, but Qin Zhixiao! so, what happened?The state of writing in several ancient books is exactly the same, obviously not because the copyist made a mistake, but because Cao Xueqin designed it that way at the beginning, he designed the chief steward of Rongguo Mansion to have the same surname as Qin Keqing!Generally speaking, the housekeeper should come forward to report to the hostess, and it should belong to Qin Zhixiao's family, not Qin Zhixiao, unless the servant surnamed Qin has a very special status and the matter to be reported is really confidential, but several The ancient version is also written exactly the same, it is Qin Zhixiao, not Qin Zhixiao's family.During the circulation of this book, when it was written about the housekeeper of Rongguo Mansion, it was written about Lin Zhixiao and his wife. They also had a daughter, Lin Hongyu, who was also Xiaohong. Zhixiao was first changed to Lin Zhixiao, and then changed to Lin Zhixiao's family. Of course, this is consistent, and it is logical for the maid to report to the mistress. My judgment is that when Cao Xueqin first wrote the seventeenth and eighteenth chapters (the two chapters have not yet been separated), when he conceived characters and plots based on life prototypes, he wanted to incorporate more political content. In that era, in real life, the servants of aristocratic families were their chattels, just like houses and other immovable properties, which could be disposed of by the master at will, such as gifts to relatives and friends.When Cao Yin was alive, he had a very close relationship with the prince Yin who was both upholding and abolishing. It is entirely possible for the two parties to exchange courtesy and give each other servants.In the novel, Cao Xueqin designed the daughter from the Yin family to be named Qin, and also gave her adoptive father the surname Qin. It is very likely that he also designed several characters belonging to the same system, all with the surname Qin.Then, Qin Zhixiao, in real life, may come from Yin's family, but in the novel, he has the same surname as Qin Keqing.I deduce that Qin Zhixiao and his wife, the servants, also have life prototypes. Originally, Cao Xueqin wanted to cast more political colors through this role, but he later exercised self-control and felt that he could not let the text of the novel flow down like that. , he wants to transcend politics and write higher-level things.So, later on, he didn't let characters like Qin Zhixiao and his wife take on that mission. He changed Qin Zhixiao's name to Lin Zhixiao, so that this character was completely different from the political clue of "who lives in Jiangnan and his surname is Qin". off the hook. Even so, the words about Lin Zhixiao and his wife in the novel still left some traces of Cao Xueqin's early ideas. He originally planned to write them as a branch of the Qin surname and link them with Qin Keqing.Perhaps in real life, this pair of servants from Yin's family adopted a low-key stance in Cao's family after Yin was completely abolished.After this situation was written into the novel, Wang Xifeng said that one of them was deaf and the other was dumb, and they were also very low-key, trying not to show off.Moreover, Lin Zhixiao's family should already be a middle-aged woman, but she worshiped the young master Wang Xifeng as her godmother. Presumably the prototype of that character also adopted such a method to divert the attention of others as much as possible and hide her "uncleanness" of origin.In the novel, Lin Zhixiao and his wife are the big stewards of the Rongguo Mansion, but they don’t rely on their power to arrange their daughter Xiaohong as a first- and second-class girl. At the beginning of the story, Xiaohong is just a watering flower and feeding bird , The miscellaneous girl who warms the tea stove.In the twenty-sixth chapter, the little girl Jiahui went to find Xiaohong, but Xiaohong uttered two shocking words: "There is a long shed for thousands of miles, and there is no feast that never ends. Who will guard the other forever? Only three to five years." , everyone has gone to do their own thing, then who cares about whom?" I didn't quite understand for a while, how could Xiaohong say this?Where did she surpass the knowledge of everyone in the Jia family?He actually has the tone of Qin Keqing!后来我琢磨出来，如果林之孝这个人物曹雪芹原来是写做秦之孝的，这个人物的原型就可能是跟秦可卿原型一样，来自同一大背景。那么，他的女儿在家里，听那其实并不天聋地哑的父母私语，听他们感叹原来的主子好景不常，特别是太子一废和二废之间也就是三五年的事儿，听得多了，自然也就比其他的丫头们能够看破。她不寄希望于在府里长期发展，攀个高枝也只为学些眉眼高低，出入上下，大小的事情也得见识见识；自己发现府外的廊下芸二爷还不错，就换帕定情，早为出府嫁人之计。顺这样的思路琢磨下去，曹雪芹尽管下笔十分狡狯，我觉得自己也没有被他瞒蔽了去。又想到第六十一回，大观园里丫头们为争夺内厨房的控制权，一时搬倒了柳家的，于是林之孝家的赶紧安排了秦显家的去取代柳家的——曹雪芹原来是想在书里设计出上、中、下几种秦姓的人物啊，由秦之孝提拔本来在园里南角子上夜的秦显家的，太自然不过，本是同根生嘛！但曹雪芹最后却放弃了将秦可卿带来的政治投影扩大化的计划，他把秦之孝改成了林之孝，尽管留下了我上面钩稽出的这些蛛丝马迹，但林之孝夫妇在小说里终于成为了跟政治无关的角色。他一定为自己的这个改动得意，因为写到“慧紫鹃情辞试忙玉”时，写林之孝家的来看望贾宝玉，宝玉一听立刻急了，认为是林黛玉家派人来接她了，叫把林家的人打出去，贾母也就命令打出去——把秦改为林，还可以派上这样的用场，当然还是改了好。 曹雪芹在从生活原型到艺术形象的创造性劳动中，不断调整他的总体设计与局部设计，而且因为他虽然大体写完，却来不及统稿，剔掉毛刺，因此，我们现在看到的文本中，出现了一些明显的笔误和矛盾之处。比如第四十八回写林黛玉教香菱写诗，她跟香菱讲作诗的ABC，说，什么难事，也值得去学，不过是起承转合，当中承转是两副对子，平声对仄声，虚的对实的，实的对虚的？ ?曹雪芹笔下的林黛玉说错了，这是不应该的，也是曹雪芹不该写错的。中国古诗词，对对子，应该是虚的对虚的，实的对实的，说成虚对实实对虚是一个低级错误。有趣的是所有古本，这个地方全这么错着，高鹗、程伟元也没改，一直到现在的通行本，也没人去改，就那么印。我想，这是因为没什么人会因为曹雪芹这么一个笔误，就去讥笑他，就去否定他的整本书，或者去否定林黛玉这个形象。这种不改动，并不影响我们对的阅读。但是，书里的有些交代，形成前后矛盾，让读者纳闷，还是应该深究一下的。比如第二回冷子兴演说荣国府，说贾赦有两个儿子，长子叫贾琏。后来书里也写到贾赦另一个儿子贾琮，黑眉乌嘴的，年龄似乎比贾环还小。但奇怪的是，书里人们都称贾琏二爷，他的妻子王熙凤也就连带被称为二奶奶，这是怎么一回事呢？有人说，这是按宁荣二府的大排行叫的，贾珍是大爷，所以比他略小的贾琏是二爷。但是既然讲究大排行，那贾宝玉就应该跟着往下排，他应该被叫做三爷，贾环则是四爷才对，可是，书里宝玉也被叫做二爷，贾环则被称做老三。况且，如果是论大排行，那该把贾珠也排进去，那宝玉应该是四爷，贾环则是五爷了。显然，贾政的儿子是单排的，大爷是贾珠，所以二爷、三爷是玉、环。what the hell is it?我认为，这是因为在真实的生活里，贾琏的原型是有个哥哥的，只是曹雪芹想来想去，觉得把这个人写进来没多大意思，也太枝蔓，因此，就把他省略掉了。但是，生活里头，王熙凤的原型，这个二奶奶实在太鲜活生猛了，白描出来就是个脂粉英雄，而且二奶奶这个符码称谓，像嵌入了这个人物的身体一样，若改口去叙述她的故事，倒别扭了。因此，曹雪芹就保留了二奶奶这个家族中的口头语，也就连带保留了对贾琏原型称二爷的口头语，最后便形成了现在这么一个文本。 其实，曹雪芹可能一度也想交代出贾赦有个比贾珍、贾琏年龄都大的儿子，他甚至都设计好了一个名字。第五十三回写贾氏祭宗祠，有一个古本，就是现在还藏于俄罗斯圣彼得堡的那个古本，其中写祭祀场面，有一句是“当时凡从文字傍之名者，贾敬为首；下则从玉傍者，贾玫为首”。“贾玫”两个字清清楚楚，应该是曹雪芹一度根据生活真实设计出的名字，以完满贾琏是各房单排的二爷的身份，但他并不想再去写这个老大的故事，所以谐音为“假设没有”的意思。 尽管我们现在看到的有这么一些没有剔除尽打磨完的毛刺，但曹雪芹对贾宝玉这个艺术形象的刻画，仅就八十回而言，已经是非常完整丰满、光彩照人了。 我们可以算一算，贾宝玉在书里，他自己和别人给他取了一些什么名号？王夫人初见林黛玉，告诉她说，我有一个孽根祸胎、混世魔王。这两个称谓虽然没有流布开，却也着实说明，以那个时代那个社会那种制度的正统价值标准来衡量，贾宝玉确实具有叛逆性、颠覆性、危险性。再说清虚观的事儿，还记得吗？在四月二十六，张道士做了个什么法事？为谁的圣诞做法事？书里写的，是为遮天大王的圣诞做法事。遮天大王，这是个什么样的符码啊！和尚打伞，无法无天，谁的象征？前面讲的还记得吗？四月二十六，其实也就是生活中的曹雪芹和书里贾宝玉的生日啊，这一笔还不够惊心动魄吗？ 大观园里，探春发起诗社，大家都要取别号，薛宝钗对宝玉说，你的号早有了，“无事忙”三字恰当得很。后来又说，天下难得的是富贵，又难得的是闲散，这两样再不能兼有了，就叫你“富贵闲人”也罢了。“无事忙”和“富贵闲人”的符码说明了宝玉的另外一面，就是他并不一定是要去颠覆现在的政治，他是要超越现实政治，去忙活他自己选定的事情，他有另样的追求。什么样的追求？他更小的时候，就给自己取过一个别号：绛洞花王。他还把自己的住处题为“绛芸轩”。他认为自己是红色洞天里的一位护花王子，他觉得他的生存意义，就是要去体贴青春女儿们花朵般的生命，保护她们不被污染，不被摧残。 根据我的理解，第一回里的女娲补天剩余石，下凡后是通灵宝玉，并不是贾宝玉，贾宝玉则是神瑛侍者下凡。但是通灵宝玉后来回到了青埂峰，恢复了巨石的形状，上面写满了字，那些文字里有这样一些脍炙人口的句子：忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出于我之上，何我堂堂须眉，诚不若彼钗裙哉？闺阁中本自历历有人，万不可因我之不肖，自护其短，一并使其泯灭也？ ?其实这都是作者曹雪芹的话语，既不必胶柱鼓瑟地非说是“石兄”写的，更不能说是贾宝玉的独白，这是曹雪芹高妙的艺术想象。正如第一回里写到石头口吐人言时，脂砚斋批语说的，“竟有人问口生何处，其无心肝，可恨可笑之极！” 关于贾宝玉，要进入他的精神世界，了解他的人格构成，我们必须弄清楚两个概念，一个是仙人提出来的，一个是凡人论证的。那么，究竟是哪位仙人与哪位凡人，分别提出、论证了哪两个概念呢？下一讲，我会同大家一起探讨。