Chapter 21 Chapter Six: The Mystery of Shi Xiangyun Zhiyanzhai

Now we want to discuss, who is Zhiyanzhai?Could it be the prototype of Shi Xiangyun in the book?Zhiyanzhai was a collaborator and assistant of Cao Xueqin's writing. In an ancient edition called Jiaxu, he simply wrote the name of Zhiyanzhai into the text: "Later, because Cao Xueqin read it for ten years in the Mourning Hongxuan, It was added and deleted five times, compiled into a catalog, and divided into chapters, and the title is "Jinling Twelve Beauties"?? I copied it to Zhiyanzhai Jiaxu and commented, and it is still used." Zhiyanzhai lived beside Cao Xueqin, Cao Xueqin wrote, and Zhiyanzhai sorted out and edited the manuscript.The Jiaxu version of Jiaxu refers to the 19th year of Qianlong, which is 1754 in the Gregorian calendar. Since it is called "copying and re-evaluation", it can be seen that there was a preliminary review before this, and it is not the first time that the book has been sorted out.At the time of the initial evaluation, it was not yet determined how to name this book, because Cao Xueqin and some of his relatives and friends came up with many kinds of titles: "Love Monk Record", "Fengyue Baojian", "Jinling Twelve Hairpins", and then commented At the time, Zhiyanzhai chose one of the various titles for this book, and "still use it".There are about 14 or 15 kinds of ancient manuscripts that we can see now, and their sources are basically Zhiyanzhai’s commentary, so most of them are called.Of course, some variant texts are derived from one type, such as Qi Liaosheng’s preface to the book, if all these books are counted, the number will be even more.

In addition to the Jiaxu edition, there is also a more famous one called Jimao edition. This Jimao edition refers to the twenty-fourth year of Qianlong, that is, 1759 in the Gregorian calendar. It is called Siyueping. Book.We haven’t found the first review edition yet, and now we have a Jiaxu edition for the re-evaluation edition, but the Jiaxu edition is incomplete, leaving only sixteen chapters, not the first one, and the sixteenth chapter, which is intermittent, adding up to a total of ten chapters. six times.Jimao has more chapters.The more complete one is the Gengchen edition, which is the ancient edition of the twenty-fifth year of Qianlong's reign in 1760. There are as many as seventy-eight chapters in this edition.On Gengchen's book, there is the words "Four Commentaries on Qiuyue Final Version", which shows that Zhi Yanzhai's fourth copy of the commentary lasted from the winter of Jimao year to the autumn of Gengchen year.We didn't find the first review, we haven't found the third review, and we haven't found the fifth review.But with this re-evaluation and fourth commentary, we are already very relieved, although they are not the most original Zhiyanzhai's personal use, they have all gone through at least one round of over-recording—that is, re-transcribing according to Zhiyanzhai's personal use Copy it out—but their text should be the closest to Cao Xueqin's original intention, which can feast our eyes.

The main work of Zhiyanzhai is to organize manuscripts and edit them.Sometimes Zhiyanzhai will remind Cao Xueqin what is missing and what should be added in the part you have written.For example, in the seventy-fifth chapter of the ancient manuscript, there is a proofreading note: "Qing Qing on the seventh day of May in the 21st year of Qianlong. Missing Mid-Autumn Festival poems, wait for Xueqin." What is "Diao Qing"?That is, Zhiyanzhai has a manuscript of Cao Xueqin, and he has a copybook. Cao Xueqin may write books in cursive, and the pen is like a snake. It is difficult for ordinary people to read. Zhiyanzhai is familiar with his handwriting, so he uses clear handwriting. Transcribing, editing and commenting while copying.After this step of work came to an end, Zhiyanzhai would go back and proofread Cao Xueqin's original manuscript against his own transcription.After the reconciliation, sometimes there will be a brief editing record.After facing the Qing Dynasty on the seventh day of May in the twenty-first year of Qianlong, Zhiyanzhai discovered that the seventy-fifth chapter "Mid-Autumn Poetry" was missing, and Cao Xueqin needed to be reminded to fill it up.In the seventy-fifth chapter, there should be three poems chanting the Mid-Autumn Festival, one by Jia Baoyu, one by Jia Huan, and one by Jia Lan.This can also be seen in Cao Xueqin's writing habit. He often writes out the narrative text first, and leaves the poems and songs that need to be embedded in it empty, and then fills in when he is interested.Although Zhiyanzhai solemnly reminded the three Mid-Autumn Festival poems in the seventy-fifth chapter with a single-page proofreading note, I don’t know why Cao Xueqin never filled them in. All the ancient books we see now are still vacant.This is of course a very regrettable thing.But this one example has fully demonstrated that Zhi Yanzhai was a very important figure in the process of writing the book.Sometimes, Zhi Yanzhai would put forward very important suggestions, such as asking to delete and revise the completed manuscript.The most famous example is the thirteenth chapter, which was originally called "Qin Keqing's Lascivious Mourning in Tianxianglou", but Zhi Yanzhai asked Cao Xueqin to change it, and finally changed it to "Qin Keqing died and sealed the dragon ban".Not only did he change the table of contents, Cao Xueqin followed his advice and deleted a lot of text, about four or five leaves—one leaf of the thread-bound book is equivalent to two pages on the front and back of the book, which is a very large amount.This shows that Zhiyanzhai is very authoritative in front of Xueqin, not an ordinary editor.

Sometimes, Zhiyanzhai even wrote it directly. For example, in the twenty-second chapter, there was a comment saying: "Sister Feng plays, and Zhiyan writes. Today, there are very few people who know it, so don't blame your husband!" It is written in the book Mother Jia likes to watch operas, so everyone will order plays for Mother Jia, and order the plays she likes to watch. What play did Sister Feng order?I ordered "Liu Er Dangyi". "Liu Er Dang Yi" is a funny gag, which can make Jia's mother smile and forget her worries.So who wrote this one? "Zhi Yan writes."It may be that when Cao Xueqin wrote about this place, he stopped writing and pondered: what kind of play would it be appropriate for Sister Feng to order Mother Jia?Cao Xueqin thought about it for a while, and did not write it, so Zhi Yanzhai simply wrote it for him. "Liu Er Dang Yi" was thought up and written by Zhi Yanzhai.Of course, there are different interpretations of this comment.One understanding is: Sister Feng in the book has a relatively low level of education, and when ordering a play, she has to write out the name of the play. Sister Feng can't write it herself, so a person next to her will write it for her, so it can be seen that Zhiyanzhai is a character in the book. The character was on the scene in that episode, next to Jiamu and Sister Feng. Of course, that character was not called Zhi Yanzhai. After analysis, it can be judged that the person who wrote the title of "Liu Er Dang Yi" for Sister Feng should be Shi Xiangyun , then, such an explanation is often used to prove that Zhiyanzhai is the prototype of Shi Xiangyun.There is another understanding, which is that this comment lamented something outside the book, just like in the eighth chapter, when Jia Mu gave Qin Zhong a watch gift with a golden star, Zhi Yanzhai wrote a comment: " Does the author still remember the matter of Jin Kuixing? Looking back on the present and thinking about the past, the heart is broken!" Zhi Yanzhai thought of the outside of the book from the book, and thought of a real-life event that both the author and himself knew, and felt a lot of emotion, so Write a comment.Then this comment can also be equivalent to the comment about Jin Kuixing. The "Sister Feng" and "Zhiyan" in the comment all refer to the prototype of life. There was such a situation back then, but "few people know it today ", which made Zhi Yanzhai very sad, "Don't blame your husband!" It is also very good to understand it this way, which shows that Cao Xueqin wrote this book with a solid basis for life. Not only do characters have prototypes, events have prototypes, details and even props, Both have prototypes.However, among these three explanations, I personally agree with the first one.In today's words, Zhiyanzhai is emphasizing the copyright of this detail writing, and the copyright of Sister Feng's play does not belong to Cao Xueqin, but to Zhiyanzhai.Of course, writing such a book at that time was a lonely thing, not only without fame and profit, but also at risk. Cao Xueqin and Zhiyanzhai had no copyright disputes, and they cooperated closely and encouraged each other.It should be relatively late for Zhi Yanzhai to write this comment, and it is more or less ridiculed.This comment also makes us know that there is a complicated process in writing a book.I wrote it for ten years!Zhi Yanzhai also copied the comments repeatedly. Those comments were not written all at once, and the difference between the earliest and the latest would be many years. People, most of them forget the situation when they wrote this detail, so they sighed deliberately, and recorded the hardships of writing the book in sadness.

During the editing process of Zhiyanzhai, a large number of comments were written, and there were many ways, such as general comments, back-to-front comments, back-to-back comments, eyebrow comments, side comments, and double-line comments. The main text written in large characters Among them, there are comments written in double-line small characters, and sometimes red ink is used to write the comments, called Zhu Pi, and in retrospect, sometimes poems are written.It is a pity that although a lot of commentaries in ancient books are preserved, more may be lost. The reason is that in the process of transcription, the person in charge of transcribing finds it too troublesome to put so many complex and scattered comments one by one. It is really labor-intensive to copy it down as it is, and the people who copied the book lacked understanding of the value of the comments, and did not understand that this is a strange book, and those comments in Zhiyanzhai are closely related to Cao Xueqin's text. Therefore, I cut corners when copying the comments, and even omitted all the comments and only recorded the text.Therefore, in the existing ancient books, some of them contain very few comments, and some of them have almost no comment at all.At that time, copying books was often not copied by one person. The whole book was very large, and several people copied it separately. Those who didn't find it troublesome or those who valued the comments would keep more or all the comments, and those who were lazy would copy them into "plain text" without comments.There is also a product of one person reading several people's dictation. Such a copy tends to despise the commentary more, and the presentation is even worse.

Although in the process of spreading, Zhiyanzhai's commentary has been lost, but now we can see a lot, not counting double-lined commentary, just the basic non-duplicated commentary that can be found in various ancient books. There are more than 1,800 comments, and these comments are very rich in content, which is a valuable asset for us to understand the connotation of the text, the basis of writing and the process of creation. Zhi Yanzhai put forward an authoritative interpretation of the important views expressed by Cao Xueqin in the book.To give just one example: In the fifth chapter, Fairy Jing Huan put forward a concept called obscenity.The word obscenity is often regarded as a derogatory term whether you turn on the print media, especially when you turn on the computer or read the language on the Internet.This is just as the name suggests, thinking that since obscenity is composed of the two words "meaning" and "obscenity", it must mean "conscious lasciviousness". It is despicable and indecent to use your head to molest others, or even want to have an improper relationship with others.The word obscenity was invented by Cao Xueqin, and he said it through the mouth of Fairy Jing Huan in the fifth chapter.Please read the original text carefully and experience it, and you will find that it is a commendatory term in Cao Xueqin's works.Zhiyanzhai gave the most authoritative explanation of such an important vocabulary coined by Cao Xueqin, first saying "the two characters are new and elegant", and then saying: "According to Baoyu's life-long mind, he just thought about the two characters, so it is called 'obscenity'." Zhi Yanzhai believes that obscenity is equivalent to being considerate, which is opposite to "skin promiscuity".When I talked about Jia Baoyu in the second part of "Liu Xinwu Uncovers the Dream of Red Mansions", I made a more detailed analysis, so I won't expand here.From this example, it can be seen that Zhi Yanzhai's criticisms are very powerful, providing a straightforward and authoritative interpretation of Cao Xueqin's thoughts.They lived together and completed the creation together. Zhiyanzhai's explanation cannot but be believed.

In addition, Zhiyanzhai also praised and criticized the characters.There are various roles written in the book, and Zhi Yanzhai put forward his views on certain roles.For example, when Jia Yun was written in the twenty-fourth chapter, Jia Yun wanted to find an errand in the Rongguo Mansion, but he couldn't find it and was depressed. He even went to his uncle's house to borrow some money for activities, so as to get through with Wang Xifeng. Knuckle got a job, but his uncle treated him very badly. When he returned home and faced his mother, he concealed his uncle's bad behavior towards him.In this place, Zhiyanzhai commented on Jia Yun: "Ambition and decisiveness", "A filial son is respectable, this person will definitely do something after the Rongfu's defeat." Of course, this is not only an evaluation of characters, but also What role Jia Yun will play in the plot after the 80th chapter has been hinted.Sometimes, Zhi Yanzhai will directly identify the prototype of the character.I am doing prototype research now, some people say you are too far-fetched?Some people think that novels are pure fictions, and there is no need to discuss any archetypes when discussing novels.This view is at least one-sided.There are all kinds of novels in the world. Fictional novels without prototypes are of course one of them, but realistic novels with prototypes are even more important.It is an autobiographical, self-narrative, and family history novel, and it has prototypes. First of all, most of the characters have prototypes.As a collaborator of Cao Xueqin, Zhi Yanzhai shared prototype resources and often pointed out prototypes in comments.For example, in the twenty-fifth chapter, there is a Ma Daopo. Ordinarily, this Ma Daopo is a very minor character who only appears once, so it should be a purely fictional character.Some people said that the writer must have had an idea and came up with such a character, so she was included in order to promote the development of the plot.Ma Daopo talked a lot in front of Jia Mu in order to cheat the lamp oil money, and then went to see Aunt Zhao and helped Aunt Zhao to kill Wang Xifeng and Jia Baoyu.Does Ma Daopo have a prototype?Zhi Yanzhai told us that not only Ma Daopo is real, but also what Ma Daopo said about defrauding lamp oil money at that time is all true: "A piece of nonsensical and unreasonable nonsense, but every sentence is heard and witnessed. The author and Yu, it’s the truth!" You see, the nonsense words written by Ma Daopo in the book were all witnessed and heard by Zhiyanzhai and Cao Xueqin when they were there together!

As mentioned above, Zhiyanzhai often thinks of the book from the book. For example, in the eighth chapter, Qin Zhong was going to study in Jia's family school, and Jia's mother gave him a purse and a golden star.When ordinary readers read this place, they tend to ignore it, as if it is a general stroke of indifference.What is Kuixing?In the past, the purpose of studying was to be able to rank among the top in the imperial examinations. I believed that there was a Kuixing god who could bless those who took the imperial examinations to win the championship. Therefore, there was a trend of worshiping Kuixing in the society at that time. In addition to worshiping Kuixing in places such as Kuixing Pavilion, some materials were also used—— Including gold plating and even using pure gold to make the image of Kuixing as a gift for scholars.The image of Kuixing is close to the Arhats and King Kong we usually see in Buddhist temples, but wearing an official hat means that he will have a prosperous official career in the future.Things like Kuixing are no longer popular now, and they are rarely seen. If you find them by chance, you must collect them carefully. They are a kind of cultural relics with great research value.Jin Kuixing is written in the book, but there is not even a word to describe it. Is there anything to pay special attention to?But when Zhi Yanzhai saw this sentence, he couldn't help but write a tearful comment.Zhi Yanzhai is not saying that he is equivalent to Qin Zhong, but reminds the author that in real life, he has also received Jin Kuixing from his elders, and "Yu" is at the scene, and the time has passed and the situation has changed, which is unbearable.There are many examples of this kind of comments written after seeing the narration in the book is just a passing statement. For example, in the third chapter, when Baoyu wrote that "the color is like a flower in the spring dawn", Zhi Yanzhai immediately recalled: "' I still remember the sayings that young people are tender but not strong' and 'if they are young, they are poor', and now I have read it to this point, let me cry aloud!" The thirty-eighth chapter wrote that Baoyu asked the girl to boil a pot of wine made from acacia flowers Come, Zhiyanzhai sighed: "It's sad! The author still remembers that before the dwarf, he used acacia flowers to make wine? It's been twenty years!" Mao Zonggang's comments and Chen Shibin's comments are not the same thing. Although Jin, Mao, and Chen are great critics, they are not of the same age as the authors of the works they commented on, let alone collaborators. It is impossible for them to provide information about the process of writing the book and Author's background information.After Cheng Weiyuan and Gao E published the 120 chapters of the current edition, those commentators who appeared in the past dynasties, such as Huhuazhuzhu, Damou Mountain People, etc., the last forty chapters of their connected editions were not written by Cao Xueqin at all. It's unclear what's going on, let alone Zhiyanzhai.

Sometimes, Zhiyanzhai will lament the morals of the world, and some of the comments are similar to the current essays.For example, in the fourth chapter, it was written that Xue Pan regards life lawsuits as a trifle, "I can spend a few stinky money on my own, and I can't get it."At this time, Zhiyanzhai had this kind of comment: "Extremely! People call Xue Pan a fool, but Yu said he is a great enlightenment." A critique of social reality. Zhiyanzhai also has a large number of comments that analyze Cao Xueqin's artistic techniques, using many unique words, some of which I repeat repeatedly, such as "grass snakes and gray lines, stretching thousands of miles"; another example is "a tree with a thousand branches, One source of ten thousand sects, no intention to go with it, and a thousand miles away"; also said that Cao Xueqin used the "eating sugarcane method" and gradually became better.People who know how to eat sugarcane eat it from the tip, and the sweeter it is at the bottom.In the first round of comments, Zhiyanzhai had a general summary of Cao Xueqin's artistic techniques: "The facts are the facts, but there are also frames, twists and turns, pros and cons, reflections, concealment and insight, and righteousness." There are leaps, and even the grass snake gray line, sound transmission in the empty valley, one blow and two sounds, clear plank roads, dark Chencang, clouds, dragons, fog and rain, two mountains confronting, clouds supporting the moon, powder on the back, thousands of dyes and all kinds of wonders?" No. The twenty-seventh chapter also said: "Using the method of interception, fork, sudden method, line method, method of moving from near to far, method of changing complexity to simplicity, method of heavy work and light obliteration, method of imaginary manuscript and actual response, all kinds of methods can be used in general. Unexpectedly, there is no trace of far-fetchedness, and the so-called "everything comes at your fingertips" is true." Please note that there are many professional words in Chinese painting techniques, which shows that Cao Xueqin and Zhiyanzhai must be good at painting.Zhiyanzhai is also good at ingeniously quoting poems to refer to Cao Xueqin's superb writing skills. I quoted "Liu Zang parrot can only know it when it speaks", and there are many similar ones, such as "the top of a five-foot wall cannot be covered, and half of it is left for people to see", "At dusk leaning on the hut and still looking at it", "a man separated by flowers is far away from the end of the world", "a bird does not sing and the mountain is more secluded"? ?Sometimes I borrow the proverb: "If you sell three thousand fakes a day, you can't sell a real one in three days", "If a person changes his mind, he will die if he is sick", "If you don't like things, you can tell them the same thing. ", "People forget the air in the air, fish forget the water in the water" and so on.Zhiyanzhai sometimes mixes ready-made words with his own original adjectives. For example, in the forty-sixth chapter of Yuanyang’s anti-marriage, Yuanyang mentioned sisters who had spent many years together in distress. In that place, Zhiyan Zhai commented: "Based on this calculation, there are also twelve beauties, flowers in a real mirror, moon in water, leopard in clouds, birds in the forest, mice in dens, countless to test, no one to point out, there are Traces can be traced, tangible evidence can be found, twists and turns, far and near shadows, blurred and smoked, hidden and hidden vertically and horizontally, all kinds of strange things, dazzling and moving, and a thousand-handed, thousand-eyed grand game method!" Of course, for those who want to know Cao Xueqin's eight For people who lost what was written in the manuscript after ten chapters, the many quotations, disclosures and teasers of the eighty chapters in Zhi Yanzhai's commentary are extremely valuable.I have already talked a lot before, and here I will emphasize one more point: in the nineteenth chapter, Baoyu wrote in Ningguo Mansion "seeing such a bustling and bustling field so unbearable", and wanted to get rid of it and go out to play. He secretly took him to Xiren's house.At that time, Xiren went home for the New Year. When he saw him coming, he was surprised and very happy, so he entertained him warmly.During this process, Xiren wanted to find something for Baoyu to eat, but "the Xiren saw that there was always nothing to eat", which shows how delicate Baoyu is usually. At that time, Xiren's family was not poor and well-off. It was full of food, but Xiren felt that there was nothing for him to eat.At this place, Zhiyanzhai has a comment: "With this sentence, I will keep it with the next dozens of chapters, "Cold winter chokes sour, snowy night surrounds the broken felt" and so on." This is revealed, eighty chapters later. Baoyu will be reduced to such a poor situation.Of course, Zhiyanzhai also has some very unusual writing styles in the comments.For example, it was recorded that this book was "lost by borrowers", and another time it was recorded that "it is urgent to ask for the book".Judging from the tone of these records, there are unspeakable secrets.We can infer from this that the fate of this manuscript is very rough.Someone borrowed some manuscripts and read them and then refused to return them. If they were careless, that would be fine. Later, someone asked for the manuscripts in a hurry. What is this for?This makes us think of the literary inquisition and the shadow of the literary inquisition.Cao Xueqin and Zhi Yanzhai wrote and edited under such circumstances.

In the comments, Zhiyanzhai recorded Cao Xueqin's death.In the commentary of the first chapter, there is such a sentence: "Only those who can understand will have bitter tears, and this book will be completed by crying. On the New Year's Eve, when the book was not completed, Qin died because of tears. I have tried to cry Qin, and my tears will also be exhausted." ??" This further shows that the relationship between the two of them is very close, not ordinary editors, not ordinary critics, they simply live together.The Renwu year written here is the twenty-seventh year of Qianlong, because the lunar calendar and the solar calendar always have to be misaligned. The first few months of the Renwu year are calculated according to the Gregorian calendar, which is 1762 in the Gregorian calendar, but the Renwu New Year's Eve is already 1763 in the Gregorian calendar.After rigorous research, some experts believe that because this comment was written many years later, Zhiyanzhai misremembered it, and Cao Xueqin should have died on New Year's Eve in the year of Guiwei.Did Cao Xueqin die on New Year's Eve in the Renwu Year of the Qianlong Dynasty?Or did he die on New Year's Eve in Guiwei?In other words, did he die in 1763?Or did he die in 1764?Academics dispute this.Let's not discuss this issue, anyway, the difference is only one year.What we need to remember is: after Cao Xueqin passed away, Zhi Yanzhai was still alive, and he was still reading Cao Xueqin’s posthumous manuscript, which was also the final copy of his previous copying and commenting, adding some new comments to it.

Readers must have noticed that I have spent so much space introducing Zhi Yanzhai, but I have always avoided using the pronouns "he" or "she", because it is necessary to determine who Zhi Yanzhai is, especially to explain that he is Shi Xiangyun's Prototype, first of all gender must be clarified.So, is Zhiyanzhai male or female?There is a poem between the twentieth chapter and the twenty-first chapter, and there is a sentence in front of it: "Everything is subject to the subject, but its surname is lost, but its poetic flavor is alarming, so it is recorded here." Say it was written by yourself, say it was written by someone else, and I just recorded it there.In fact, this poem was probably written by Zhi Yanzhai himself, because "Zhi Yan" is mentioned in the poem, which is not convenient for "self-confession".This poem is like this: "Self-holding the golden weapon and holding the spear, killing each other and fighting against each other. Mr. Qiansha has infinite love, how much does Mr. Zhi Yan hate? Is it a fantasy or a vacuum, and I will sing in vain. The love machine turns so badly, what can I do if I don’t love it!” I have analyzed the content of this poem in the previous lecture, so I won’t repeat it here.I'm just here to remind everyone again: it blurs the boundary between the novel text and the novel, and puts "Mr. Qiansha" and "Mr. Zhiyan" side by side. I once pointed out that Zhiyanzhai should be a woman. Someone argued with me, saying that it clearly says "Mr. Zhiyan", and "Mr." can only be a man.In fact, in ancient times, it was okay to call the women you respected Mr.Wang Wei, a great poet in the Tang Dynasty, was obsessed with Taoism, and he especially respected Taoist priests who practiced Taoism. He wrote a poem "Gift to Master Dongjiao". The first two lines are: "Mr. Is the teacher a male Taoist priest or a female Taoist priest?She was a famous female Taoist priest in the heyday of the Tang Dynasty. At that time, many great poets respected her and wrote poems for her. The great poet Li Bai also wrote poems for her. The sentence is: "There is a god-man Jiao Shi in Songqiu, and I don't know what kind of woman she is. It is also said that she was born in Qi and Liang, and her age can be called fifty or sixty." It can be seen that the ancients had precedents for calling women "Mr."Although in the past there were examples of calling women Mr., especially learned women, but after all, "Mr." has two meanings, and you can still think that "Mr. Zhiyan" is a man.Fortunately, there are ancient books to look up. If you read the Jiaxu version, you will find that it has Fanli——Fanli is a paragraph of text at the beginning of the book, which should be regarded as the main text. Hard work, the grand banquet ends. Sorrows and joys are like illusions, ancient and modern dreams are all absurd. The red sleeves are full of tears, and there are even more love and hatred. Every word looks like blood, ten years of hard work is not unusual!" Between the 20th and 21st chapters, the "Kezi Poem" and this "Fanli Poem" are very clearly related. There are two characters in that poem, one is Mr. Qiansha , one is Mr. Zhiyan; there are also two characters in this poem, one is Hongxiu and the other is love-crazy.Qingzhi corresponds to Mr. Qiansha, Hongxiu corresponds to Mr. Zhiyan, and Hongxiu is a symbol of women, so there is no objection.Therefore, Zhi Yanzhai is a woman, and we can preliminarily confirm her.After reading Zhiyanzhai's comments, many of them are obviously female; some are neutral, and both men and women can say that; a few are clearly male. Let's take a look now, what comments can prove that Zhi Yanzhai is a woman, and not just an ordinary woman.For example, there is such a comment in the twenty-sixth chapter: "Brother Yu, if he sees this comment, he will say: 'Old guy! He doesn't relax everywhere, hateful and hateful! What a blessing! Smile." At that time, although the two of them were not very old, they had gray hair.Moreover, in that era, people's life expectancy was relatively short, half of life was over after thirty, so joking among each other, the author might call this critic an old man, is this old man a man or a woman?This old guy made it clear that Cao Xueqin "compared Yu to a hairpin, and a hairpin is a confidant", and a "confidant" who can be compared with Baochai and hairpin—that is, Daiyu—can only be read from the book. It's Shi Xiangyun!Zhi Yanzhai said in another comment: "A big book is a dream?? Therefore, the 'Dream of Red Mansions', Yu Jin's criticism, is also in a dream, especially for the person in the dream, especially for this big dream. "She confessed that she is a "dream person", that is, as a character prototype, she constitutes a character in the book.The thirty-eighth time when Jiamu was in Ouxiangxi, recalled that historians had a Zhenxia Pavilion. In the previous lectures, I have already expressed my opinion, that is, the life prototype of Jiamu and Xiangyun, the historian in the novel, is the Kangxi Dynasty Suzhou Weaving Li Xujia The prototype of Jiamu is Li Xu's younger sister, and the prototype of Xiangyun is Li Xu's niece, so Zhi Yanzhai wrote this comment in this place in the book: "Look at him suddenly using Jiamu's words, and leisurely making up this Before the book, it seems that there is already a "Twelve Hairpins", which makes people recall it and can't see it at once! Yu Ze is going to make up "The Twelve Hairpins in the Zhenxia Pavilion", so why not add a new book?" Imagine, If the prototype of Zhiyanzhai and Jiamu's prototype did not belong to the same family, how could she have the idea of ​​making up "The Twelve Hairpins of Zhenxia Pavilion"?How can you have such materials and such abilities? There is also such a "tear pen" in the Jiaxu book, that is, after Cao Xueqin passed away, Zhiyanzhai continued to add comments, writing with tears in his pen, saying: "From now on, I only hope that the Creator will produce another celery and fat. What a blessing for the book. The two of you are also very happy in Jiuquan!" "One celery and one fat", this is the relationship between husband and wife, and the title "Yu two" shows that they are not only women, but they are equivalent to wives. female. As I said a few days ago, Shi Xiangyun's appearance arrangement is very strange. There is no introduction to who Shi Xiangyun is before, and there is no narrative text to summarize who Shi Xiangyun is after that. A complete impression of Shi Xiangyun can still be drawn.However, if you read the comments carefully, you will find that Zhi Yanzhai paid attention to Shi Xiangyun very early on.In the thirteenth chapter, when writing about Qin Keqing’s funeral, he suddenly heard the sound of shouting, and the wife of Zhongjing Hou Shi Ding came. In Cao Xueqin’s text, Shi Xiangyun did not appear. There is a kind of current version that says Shi Xiangyun led the way, which is a random addition. Yes, why did he add randomly?Because he may have seen a comment from Zhiyanzhai, which was written in the place where Mrs. Zhongjing Hou Shi Ding appeared: "Miss Shi Xiangyun news." It can be seen that the person who criticized the book knew Shi Xiangyun and Mrs. Zhongjinghou Shi Ding. The relationship between them is her aunt!It can also be judged from this that Zhi Yanzhai, who criticized the book, is the prototype of Shi Xiangyun. She is also very sensitive to the indirect information about herself in the book, so she added such a comment. In the twenty-fifth chapter, Mrs. Wang caresses and caresses Baoyu. Originally, such a description would not be offended by a large number of your critics.As a result, such a comment appeared in this place: "All those who lost their mothers in childhood come and cry!" Later, Baoyu was rescued by the Queen of Nightmare and woke up, "Ms. Wang is like a treasure", and said: "Crying!" Those who lost their parents at a young age." In the book, Daiyu lost her mother when she was young, and Baochai lost her father when she was young. Only Xiangyun's parents died in his infancy. The person who can write such comments is the prototype of Shi Xiangyun. Some "red fans" friends may say, okay, there is no need to list more examples. When you say this, I admit that there are indeed many criticisms that prove that Nengzhi Yanzhai is a woman, and she is not an ordinary woman. Baochai and Daiyu are shoulder-to-shoulder women, and they are closely related to Cao Xueqin in life. They are simply married women, and may be the prototype of Shi Xiangyun. But didn’t you just say that there are some distinctly masculine tone in the book How do you explain this?This cannot be avoided! There are a lot of comments in the book that don't know whether they are male or female, regardless of whether they are male or female.There are also comments that are clearly male. For example, in the eighteenth chapter, it is written that the concubine Yuan visits her relatives. Lingguan and their twelve officials performed very successfully. Lingguan played "Garden Tour" and "Dream", but Lingguan said that this is not the play of his own role, and he insisted not to perform it, but insisted on performing "Meeting" and "Calling each other".There is a comment here, saying that "Yuli has a wide range of disciples in the Liyuan", which means that I have seen too many disciples in the Liyuan, "everyone is the same", and they all have this kind of virtue. Brothers talk about this." Of course, the person who wrote this comment was a man. How could it be possible for a lady in that era to raise a disciple of the Liyuan, and how could it be possible to meet with "brothers from various families" to discuss the situation of their own opera singers?Moreover, this person feels that the plot written in the novel has existed in life: "Thirty years ago, I witnessed a person who was close to me appear on paper??" What's going on?I have my own explanation, that is, while Zhiyanzhai was sorting out the manuscript and writing a lot of comments, some other people who were close to Cao Xueqin, relatives or friends, also added some comments to the manuscript after they got it. These comments have also been handed down along with the ancient manuscripts.Some of the authors of such comments signed their names, consciously distinguishing them from Zhiyanzhai.For example, in the thirteenth chapter, a person read the passage of Qin Keqing's Tuomeng, and commented: "I see the Tao in every language, and every word is sad. After reading this passage, I don't know what I am! Songzhai." Songzhai was the one who wrote the criticism. signature.There is also a person who leaves his name as Meixi.In fact, in the second round, Zhiyanzhai had a comment that clarified this matter.She said: "The rest of the batches are republished. When I read this book, I got something occasionally, that is, I recorded it. I didn't read it from the beginning to the end and then add the approval from the beginning. So there are occasional reprints." She described the situation of her approval of the book. It was clear, and he said: "And the criticisms of the princes are from the eyes of the princes; the criticisms of Zhizhai also have Zhiyan for fun?" She told us that besides her, there are some people, she collectively called them For the "lords", it is my pleasure to say that their comments reflect their vision; it is my pleasure to write my experience.But she was the master batcher, and the rest were just occasional batches.Therefore, it is not surprising that there are some male-toned comments in the ancient texts.For example, the comment about the situation of raising actors thirty years ago was written by a man who should be around fifty years old at the time.Of course, when discussing the identity of Zhiyanzhai, you will often encounter another difficulty, that is, if you are familiar with Guben, you will find out, what is Songzhai, Meixi, and what is called Lisongxuan, Yulan Poe, the names of these people appear very occasionally and very rarely.However, another signature appeared frequently later, that is, Ji Husou.Are Jihusou and Zhiyanzhai the same person or two?Moreover, the last word in the signature of Jihusou is "Sou", "Sou" means old man, isn't that a male?Therefore, this issue cannot be avoided and has to be discussed.If you read the ancient books carefully, you will find that this problem seems difficult to explain, but in fact it is not impossible to distinguish.In the early manuscripts, before the Gengchen edition, that is, on the ancient manuscripts twenty-five years before Qianlong, the most signed one was Zhiyanzhai, and Jihusou was zero.In the twenty-seventh year of Qianlong, after the year of Renwu, the signature of Jihusou began to appear in the comments, and once there was the signature of Jihusou, there was no signature of Zhiyanzhai.这个文本现象，对我们讨论这个问题是有利的，于是可以这样理解：史湘云的原型，她开头一直署名脂砚斋。后来，她改署畸笏叟。 在有些古本当中，比如说第二十七回，先有一条批语，它是脂砚斋的：“奸邪婢岂是怡红应答者。”是评小红的。小红这个人物出现的时候，表现得非常诡异，在那样一个时代，她胆敢“遗帕惹相思”，她是真遗帕吗？她就是在和贾芸调情，她很大胆地通过交换手帕来与贾芸定情，打定主意今后去嫁给这个人。看到这样的描写，脂砚斋就有这样一个批语，判定她是一个“奸邪婢”，“岂是怡红应答者”，就是这样一个危险的人物，怎么能留在怡红院里面来供宝玉使唤呢？脂砚斋写下这条批语时，她还没有读到曹雪芹后面的文稿，当时曹雪芹跟她合作可能也很有趣，曹雪芹在有的地方还不先告诉她以后怎么写，您先看着、先编着再说，于是她有这样的批语。这条批语有时间上的落款：“己卯冬夜”。这个己卯年应该是乾隆二十四年。就在这个批语旁边，突然又有一条批语，是后补上去的：“此系未见抄后狱神庙诸事。丁亥夏，畸笏。”畸笏无疑就是畸笏叟的简称。这个丁亥年应该是乾隆三十二年，写在前一条批语的八年之后。这不就是她自己在纠正吗？当然那时候她已经看过曹雪芹八十回后的文稿，知道了曹雪芹笔下的小红原来是一个被肯定的人物，后面有她到狱神庙救助宝玉的情节，无论如何不能说小红是“奸邪婢”。脂砚斋和畸笏叟是同一人在不同年代的不同署名，显而易见。 周汝昌先生他对史湘云有专门的研究，他的一些观点我不尽认同，但是他有很精彩的论述，比如说他提出来在书里面，有三种禽类是史湘云的象征。给一般读者印象最深的，当然是鹤。因为她和林黛玉在第七十六回联诗时有“寒塘渡鹤影”的名句。其他两种一般读者就都很可能忽略。第六十二回，大家一起喝酒，湘云赢了宝玉，逼着宝玉说一串话，要求很高：“酒面要一句古文，一句古诗，一句骨牌名，一句曲牌名，还要一句时宪书上有的话，总共凑成一句话。”这很难的，宝玉才思没有敏捷到那个程度，最后黛玉说我帮你说，黛玉帮着宝玉说了，是这样：“落霞与孤鹜齐飞，风急江天过雁哀，却是一只《折足雁》，叫的人《九回肠》，这是鸿雁来宾。”这一串话都象征着史湘云后来的命运。那一串话里，“孤鹜”和“折足雁”也是史湘云的象征，“鹜”是鸭子的意思。鹜、雁、鹤分别是史湘云一生当中不同阶段的不同生命状态的象征，周汝昌先生指出，“孤鹜”跟“畸笏”的意思相通，“孤”和“畸”都是孤独失依的意思，史湘云襁褓中父母双亡，以“孤鹜”自比当然贴切。当然，“孤”和“畸”也有特立独行的意思。史湘云婚后痛失夫君，成了“折足雁”。后来与贾宝玉遇合，穷困中相濡以沫，如鹤渡寒塘。周先生指出，“鹜”和“笏”的古音是一样，所以，“畸笏叟”其实就是“孤鹜嫂”的谐音——来自金陵的人“嫂”字发“叟”的音，“叟”是“嫂”的调侃性写法。这样，就把性别的问题也解答了。周汝昌先生的这个解释，可供大家参考。归根结底，我的结论是什么呢？就是史湘云的原型就是曹雪芹祖母家族的一个李姓表妹，她的家族败落以后，她历经磨难，和曹雪芹遇合，共同生活，并且帮助曹雪芹撰写了。当然，她个人更主张把这部书叫做。她前期化名脂砚斋，后期化名畸笏叟，对这部书不断地进行编辑整理、加批语。古本里标明年代最晚一条批语是“甲午八月”，我们由此可以推算出，那是乾隆三十九年的八月。曹雪芹去世是在乾隆二十七年或二十八年的除夕，则她在曹雪芹去世以后，起码还继续存活了十一二年。