Chapter 44 Chapter 43: A Brand New Idea

Looking at Eileen Chang's views on red studies, one of the freshest and most intriguing points is that she believed that Xiangyun was the protagonist of the original "early draft", but later "deleted" all the stories before the twenty chapters (until the twenty-first come back suddenly). This is already strange.What's even more surprising is that she thought that Lin Daiyu didn't exist in the first place, but was later "differentiated" by Xiangyun! That is to say: Xiangyun is realistic, but Daiyu is fictitious. This phenomenon is probably a new interest and a new "method" that has never been mentioned by others?

If she understands it as she understands, it is because the author Xueqin is inconvenient to directly write about the true relationship between him and Xiangyun since childhood due to various complicated reasons in history (we cannot know it through simple superficial "textual research" today), so this "Transform" into another "cousin", and borrow her to write about the relationship between the two. And if this is the case, then once the author achieves the purpose of "borrowing" writing, he has to arrange a structure in which Daiyu dies early and "confess" her, so as to "hand over" the real pen and ink to Xiangyun himself.

Then, in the seventy-eighth chapter of the Mid-Autumn Festival couplet in the book, Dai and Xiang are alone, and Baochai retreats. The two of them, one fictional and the other real, make a fantasy essay—this is art, and this is "creation"— However, the real goal is still "autobiography": the main body of the plot material is still Xueqin and Zhiyan—the so-called "one celery and one fat", the so-called "Yu Erren" and the intimate tone of Zhipi, have been interpreted one by one , suddenly like the awakening of a "dream". Wouldn't it be great!How unfortunate!

Zhang Ailing's writing style and speaking style are very different from mine; I will add annotations and explanations for it today, affirming what she said but did not continue, so that today's readers suddenly become enlightened, and the world is bright. I'm a talkative person, right? Say it again: The original meaning of the so-called "self-legendary" is "to write about one's own creation", as opposed to "to write about other people's creation"; there has never been any idea that it is incompatible with the artistic component of "creation".The trouble does not lie on the side of the "self-reporter", but on the side of misunderstanding and ignorance.They have been disturbing and entangled for so many years.

I made this point clear enough when I created "A New Evidence of a Dream of Red Mansions" in the 1940s.I said: Xueqin's books are "realistic", but interspersed and interspersed, exaggerated and embellished is the usual practice of novelists, and it is not a problem at all.Why bother to gossip.... Zhang Ailing's heart is sincere, and she has to admit the historical truth of "one celery and one fat", which is of profound significance. This can make some commentators who insist on "leftism" think about it, and have to constantly re-reflect in order to be true.

The poem says: Daiyu originally belonged to Zixu, why did Xueqin do anything? Xiangyun Fang is a real fat inkstone, which was once painted in Paradise Lost. [Supplementary article] What is the difference between the font and the main text? Zhang Ailing's theory of "big demolition" and "big relocation" was influenced by Wu Shichang, and it was very serious.In fact, Wu's argument needs to be scrutinized.As mentioned in the previous article, he said that the death of the old concubine in the fifty-eighth chapter was originally a matter of Yuanchun—Yuanchun died so early before the eightieth chapter... I don’t know if the death of the old concubine is a historical fact, it was the second year of Qianlong The matter of the first month, the concubine was the concubine of the old Emperor Kangxi (later Fengxi), and Yuan Chunzhi died in the fourth or fifth year of Qianlong, which is completely irrelevant.

Another example is that Wu insisted that Qin Keqing's death was originally "at the end", and the existing text was "moved forward", and so on.What is the reason?But it's just that Qin's family is at the bottom of the list of twelve beauties.The reason why the Qin family is at the end is that she is a person in the two lines of "family death" and "ren dispersal" and "parallel relationship". An important person who has a very close relationship with Baoyu—if she is ranked after Chai, Dai, Yuan, Tan, Xiang, and Miao, she is only connected with "Ren San"; if she is ranked after Feng, Wan, Yuan, Ying, Xi, and Qiao Afterwards, he had nothing to do with Baoyu Rensan.Therefore, it has to be ranked last.But what does this have to do with the imminence of death?

This kind of conjecture made Zhang Ailing fooled and created a lot of "moving" theories. To be fair, she accepted Wu Yifei's every word.For example, Wu Jian's "Jiaxu Version" has a group of sayings: Xueqin used to have a book of Fengyue Baojian, which was the preface of his younger brother Tangcun.Yu (now) gambles on the new and nostalgic, so it is still because of it. Based on this, Wu asserted that Zhiyan "retained" the "small preface" of each chapter in "Fengyue Baojian"-that is, it was changed to "return to the previous batch", and so on.Zhang Ailing does not quite agree with this "small preface" theory.

In fact, classics such as "Mao Poems" have a large preface and a small preface, and the small preface is the form of annotation for each poem; as for novels, I have never heard of any "big" preface and "small" preface. It is his own argument, but he wrote a poem saying: "The Xiaoxu in Tangcun is clearly there, but the experts in Hongxue don't know!" Anecdotes.) Let me just say my humble opinion here. The name of "Fengyue Baojian" is inscribed by "Donglu Kongmeixi" - that is, "the preface to his younger brother Tangcun".The one who wrote the preface is the one who wrote the title: Tangcun is just another department of Meixi.

Therefore, Zhiyan said "therefore is still because of it", that is, the title of the book is still preserved to express "nostalgia".Not what preserves the "little order". It is obvious: if it is an old book "Xiao Xu", then the content of each preface must be a discourse related to "fengyue".However, do the existing Huiqian batches (what Wu calls the "Xiaoxu") have these "wind and moon" contents?Since the new book is no longer a lesson from "Fengyue", why do we have to keep those "small prefaces" that don't fit?Moreover, Xueqin did not have a "brother" who wrote a preface for him and sponsored him; another comment clearly stated that Xueqin wrote the biography of this boudoir because of Tangdi's sorrow and wagtail's prestige: You know there is a brother At odds with him and with threats, how could An You "Ya Xing" write a preface for his novel?

Therefore, the "brother" should be "di", which is a hidden word for Zhi Yan's self-reference. "Meixi" is the elegant name of Shi Dazu, a poet in Song Dynasty, so he took the surname of Xiangyun, and there are works chanting "Xiangyun" in Shi Meixi's Ci.This is borrowing "history" as a metaphor for surnames. Furthermore, "Donglu Kongmeixi" is also a hidden word, because "Dong" is the "image" of the sun rising on the wood, and the first of the five elements is "Oriental Jiayi wood".It can be seen that those who say "Dong" take the meaning of wood, and the next couplet "Kong" is the borrowed word for "Zi"-"Mu" and "Zi" are combined into the surname Li, which is the original surname of Zhiyan Xiangyun. "Tang Village" has not left Xiangyun either. Her symbol is the crabapple flower, which means "I am afraid that the flowers will fall asleep late at night, so I burn high candles to illuminate my red makeup." ? To sum up: Tangcun, Meixi, and Zhiyan are the ones who retain the title, preface, and "cause" of "Fengyue Baojian".There is no such thing as a "small sequence" here. Eileen Chang does not accept this statement, she has a choice, after all, she should express herself. The poem says: The preface is strange and boastful, Meixi's surname is Shi's talent. In the east is Mulian Jiazi, and the Lu family banner slave taboos the Li family.