Predictive brushwork is one of the artistic features of A Dream of Red Mansions. The author hints at the heroine's future experience through "funeral poems". There are two points worthy of special attention here: first, the use of "peaches and plums" implies that Lin Daiyu died young. Secondly, "the fragrant nest has been built in March, and Liang Zhongyan is too ruthless", suggesting that although Baoyu and Daiyu were engaged, things have changed. Mr. Zhou also believes that the marriage with Baodai was decided before his death. In chapter 29 of Geng Chen Ben, Jia said that "enemies don't get together", and some critics said that "it's a deal", so they made it clear. Ming Yi's poem says, "There is a thread that died for love, starting in Qing Dynasty and continuing in HongLing". This "HongLing" is both a metaphor of love and a symbol of marriage. Continued HongLing means that Daiyu and Baoyu not only fell in love during their lifetime, but also got engaged and married HongLing; Although people are dead now, HongLing's symbolic engagement is still there; Where can I find a panacea to bring Daiyu back to life and marry the right person? This is Yi Ming's painful regret; According to the emotional logic of literature, it can also be regarded as Baoyu's crying in front of Daiyu's soul and his longing for Daiyu's soul.
In the last forty chapters of Cost, the love relationship between Baodai and Ming Yi is not consistent with the content of this poem. In terms of cost, Baoyu and Daiyu never had an engagement, but continued their HongLing. As early as before Daiyu's death, the leaders of the Jia family took HongLing for Baoyu and Baochai and engaged them. Just when Lin Daiyu died, it happened to be the time when today's marriage continued. After Daiyu's death, Xue Jia and his wife formally got married, and the marriage of wood and stone was over. Daiyu and Baoyu have no engagement. How can HongLing continue? The application of the phrase "die for love" in Ming Yi's poems is of great significance. Du Liniang in The Peony Pavilion died for love. It was Death for Love that brought her back to life and reunited with Liu Mengmei in HongLing. Du Liniang longed for the realization of love before and after his death. Yi Ming used this sentence "Andrew died for love ...", which also implied Lin Daiyu's soul's longing for love. However, in chapters 96 and 97 of Cost, Daiyu learned the news of Xue Jia's engagement, and her love for Baoyu ended. "Burning the manuscript and breaking the infatuation", a word "broken", wrote the determination of Daiyu and Baoyu to break off their love. Since infatuation is over, why can we continue? On her deathbed, Daiyu shouted, "Hello, Baoyu ...", but the unfinished words should be "How cruel you are!" Obviously, Daiyu died of despair. Because I didn't know that Baoyu was cheated, I mistakenly thought that he was ungrateful, so I broke my infatuation and lost my love. If Yi Ming had read such content, he would never have written such a poem as "A ray of Andrew died for love, and a bright future".
Of course, Cheng Ben's description of Lin Daiyu's death is also successful and touching. However, its content is inconsistent with this poem by Yi Ming. It must also be pointed out that the death of Daiyu, written by Cheng Ben, is related to the conspiracy of "changing the bag". This way of writing "changing packages" is really not very clever, but also very bad, and it falls into the pattern that predecessors have written too much. There are countless stories about switch plans in novels and operas in Ming and Qing Dynasties. Traditional dramatic plots dilute the authenticity of life and weaken the touching power of tragedy. Some scholars have pointed out that this conventional style of writing is definitely not from Qin Xue's hand. After carefully savoring this poem by Yi Ming and associating the death of Daiyu with "a mourning poem", it can be speculated that in Cao Xueqin's original work, the long article of Daiyu's early death is more wonderful than that written by Cheng Ben.
Third, Ming Yi's "Red Psalm" Article 19:
Mo Wen's golden marriage is like a dream of spring, and it is like smoke. There is no aura when the stone returns to the mountain, and it is always in vain to create words.
Some people think that the golden marriage refers to the marriage between Baoyu and Baochai, and Baoyu and Daiyu respectively; Actually, it is not. Because Baochai's marriage did not come together, Daiyu died; Only when there is a good marriage can we get together and leave. So, as this poem shows, this book ends when Xue Jia gets married. Although the marriage of gold and jade was combined, it soon broke up. Baoyu escaped and returned to Geng Qingshan, turning into a stone without spirituality. Baochai also ruined her youth and probably died young. The marriage of gold and jade vanished, leaving no trace. Although the stone is engraved with a long story, it can only be left to future generations to enjoy. What does it mean to Xue Jia and his family?
As this poem shows, at first glance, it seems to be consistent with the good fortune described by Cheng Ben, but it is not the case under close reading. Might as well compare with each other:
Ming Yi Shi said that the marriage of gold and jade is "gathering like a dream of spring, scattering like smoke", which means that although the marriage combination is also happy, it is very empty and short-lived, and soon it is scattered like smoke, without a trace, in vain. But this is not what Cheng Ben wrote. Xue Jia's marriage was due to the cheating of the switch plan, which was very painful at the beginning. But not long after, Baoyu thought that Daiyu was dead and Baochai was the first person, so he believed that Jinyu's marriage was settled. As a result, they lived a loving husband and wife life of "Zhang Chang thrush" and "Rain is greasy with cloud fragrance", and finally "Essence 25", Baochai became pregnant with a child. This is not the emptiness of "gathering like a spring dream", but the reality of "being like a duck to water". Cheng Ben also wrote that although Baoyu ran away, he won the prize. The sage named him a real man with excellent character, paved the red carpet, and became a rich and expensive monk, leaving the reputation of Jia Fu and Baochai. Xue Jia's son later made a fortune, and his family came back to life. This is not "scattered like a smoke cloud". Although it is scattered, it has left immortal achievements and brilliance. It is scattered in shape but not in spirit. And all these achievements are the flowers and fruits of the golden jade marriage. This is not in vain, but a bumper harvest.
Scholars have demonstrated that the contents of the last forty chapters of Cheng Ben are inconsistent or even contradictory with all kinds of foreshadowing before the 1980s, and with the logical trend of the plot and character development of the whole book. However, the content in Ming Yi's poems is consistent with the first eighty chapters. For example, the lyrics of the fifth song say that "the sky reflects the snow in the mountains", which is consistent with Ming Yi's poem "Gathering like a spring dream", but not consistent with Cheng Ben's "Zhang Chang thrusts eyebrows", "Rainy clouds" and "Essence of the Second Five-Year Plan". The same is true of Baochai's riddle, "Whoever brings two sleeves of cigarettes into the palace will never get a chance when there is a crack next to the piano." Back to the thirty-sixth time, Baoyu protested the marriage of gold and jade in his dream, and used the word "dream omen" in his reply, which also hinted that the marriage of gold and jade would only be a spring dream in the future. In Ming Yi's poem, it is said that "the stone returns to the mountain without aura, and it is always futile to make words", which is consistent with the dialogue between the Taoist master and the stone when he first saw the story on the stone, and with the theme of "falling into the white sky and being really clean" in the fifth time in the book, but it is inconsistent with Cheng Ben's "Let the laurels bloom together, and restore the family's ways". On the 22nd time, Baochai read "Parasitic Grass" to Baoyu, suggesting that Baoyu would run away from home in the future, without family drag and regardless of fame and fortune, and of course there would be no such a long list of burdens as "winning the prize", "being a wonder" and "worshiping his father in the snow". This is called "scattered like smoke", "no aura" and "also in vain". It can be seen that this poem by Ming Yi is the original intention of Cao Xueqin, and it can only exist in Cao Xueqin's original works. The last forty chapters of Cheng Ben are inconsistent with Ming Yi's poems, which violates the theme of the first eighty chapters of Cao Zhi, so it is definitely not Cao Zhi's original work.
Fourth, Ming Yi's "Red Psalm" Twentieth:
In spring, Wang Sun is as thin as a bone. Where did the green moth go? I'm ashamed of Skillen.
This poem can be regarded as a summary of the theme of this book. Some people think that "Wang Sun" refers to Cao Xueqin, which is possible; However, since Yi Ming is a poem of tihongloumeng, this "prince" should be understood as a character in the book. Judging from the content of this poem, Wang Sun is Jia Baoyu. The first sentence of the poem says that the prosperity of the Grand View Garden is not long, and the protagonist's rich life is like a passing cloud. The two sentences are about Jia Baoyu's poor life and poor image after the decline of Jia family. This poem is very general and contains extremely rich content. According to all kinds of foreshadowing in the first eighty chapters, such as "poor and miserable", "a box full of gold and a box full of silver, and all beggars are slanderers", according to the development trend of the plot of the whole book, the future ending of Jia's family is a complete failure, family destruction and genocide (all four comments on fat), and a vast expanse of whiteness. Jia Baoyu's life is the other extreme of the life of the rich in the Grand View Garden: poverty, desolation and loneliness, and the days are like years. "Wang Sun is bony" is the concentrated expression of Jia's great decline and destruction. Skull not only describes Baoyu's emaciated body due to poverty, but also implies that his indomitable spirit still exists. (The bones are rugged, which seems to be borrowed from Dunmin's sentence. "The pride is like a wonder, and the rugged bones are more broken." The last two sentences of this poem reveal and comment on the tragic connotation of this great decline and destruction. The tragedy of A Dream of Red Mansions is first and foremost a tragedy of women. Qing E and Hong Fen are the skirt girls who said "Everything is above me" for the first time. "Where to?" Is to reveal their complete destruction in a rhetorical tone. The fifth time "Thousand Red Holes (Crying), Wan Yan Winning the Cup (Sadness)" has hinted at their fate. The twenty-seventh burial of flowers and Song of Buried Flowers not only predicted the tragic future of Lin Daiyu, but also, as the fat critic said, "Burying flowers in a fragrant grave is the return of all flowers", that is to say, the destination of women in the Red Chamber is this tragic destruction like falling flowers.
Scholars have long explained that "shame on Shi Jilun" is an allusion to Shi Chong's martyrdom with green beads. Shi Chong, big noble in the Western Jin Dynasty, was named Lun Ji. When his family died, there was another favorite Ji Luzhu who jumped off the building for his double suicide. When Jia Baoyu was down and out, Hua Xiren, who had been gentle and obedient to him, left him; Compared with Shi Chong, Jia Baoyu is not ashamed. This seems to make sense. However, judging from the overall significance of Ming Yi's poem, will it reduce the tragic significance of the whole book if it is singled out as an attack? Besides, in terms of cost, Xiren left after Baoyu became a monk and got married legally. When Baoyu was at home, xiren was still loyal to him and was still sad for his running away from home. Besides, besides Aroma, Baoyu was accompanied by Yinger and others, who served him faithfully. Compared with Shi Chong, what is there to be ashamed of? Therefore, the author thinks that this "green moth pink" refers to the "thousand red Wan Yan" in the Grand View Garden. Shi Jilun, who was ashamed of that year, seems to be interpreted as borrowing the allusion of Shi Chong's killing of beautiful women in that year, and comparing it with the female tragedy in A Dream of Red Mansions, so as to reveal the serious disaster of female destruction in the Red Chamber and shed tears for this thrilling tragedy.
Check Liu Yiqing's Shi Shuo Xin Yu Fei:
Every time Shi Chong invites a guest banquet, it often makes the beauties drink, and makes the Huangmen Sect chop up the beauties. Prime Minister Wang and the general have the flavor of * * *. The prime minister can't drink, but he can't bear it. As for drunkenness. Every general, don't drink, to see its change. Three people were beheaded. The color is the same, but I still refuse to drink it. The prime minister let it go. The general said: What happened to the Iraqi family that committed suicide?
It's outrageous that tyrants like Shi Chong and General Wang Dun don't treat women as human beings and kill beautiful women for fun. However, compared with the stories in A Dream of Red Mansions in which "a hundred flowers cry, and Wan Yan shares the same worries" and "the family is broken and others die", Shi Chong's story of killing a beautiful woman is still slightly inferior. Only a few people died by Shi Chong's butcher's knife. However, the destroyed women in A Dream of Red Mansions are "Qian Qian's ten thousand red Wan Yan"; They were not only physically destroyed, but also mentally tortured and killed for a long time. The slaughterhouse that killed them is the whole society, unlike Shi Chong, which is limited to a banquet. Therefore, if Shi advocates the existence, I am afraid I will feel ashamed to read the tragedy of the Red Chamber.
Ming Yi's poems reflect the ending of A Dream of Red Mansions, which is quite different from the ending of Cheng Ben's The Last Forty Chapters. Cheng Ben wrote that Jia's property was robbed. But the property search was very gentle. As the book says, "it's no big deal, just a little scared." And it won't be long before the family property is returned, and Jia Zheng is allowed to inherit the ancestral position. Jia Fu soon returned to calm, and there was no sign of great decline. Jia Baoyu was specially protected by King Beijing when he raided his property. Jia also gave him several thousand taels of silver. He is not thin at all. I still live a life of clothes and meals. Beside his gentle and considerate wife Baochai, there are a group of maids such as Aroma, Musk Moon, Yinger and Wuer. Although, sometimes I am in a daze because I miss my sister Lin, the main aspect is that I still live a "love red" life among my daughters, and even flirt with Wuer and get carried away. Even if he later became a monk, as mentioned above, he was also a rich monk; Not a "skinny" down-and-out child. The unlucky days and poor image of Jia Baoyu in Ming Yi's poems can't be found even in Forty Chapters after Cheng Ben.
Regarding the fate of "green moths and red powder", although Cheng Ben also wrote about the tragic fate of some people, and it is also infectious (such as the death of Daiyu), on the whole, Cheng Ben's writing about female tragedies is very limited. It's not thousands of people crying, and Wan Yan has the same sadness, but the misfortune of a few people, and most people have a bright ending. For example, the life of three girls after marriage is "very good". Baoyu ran away, and the Jia family was in trouble. She lived up to everyone's expectations and went home to help the Jia family tide over the difficulties. Li Wan wore a garland with a crest because her son won the prize. Although Baochai's husband is not around, she has a son and a daughter as her companions, and a bright future of "blooming in Guilin" awaits her, and her maid Yingying and others are also favored by her. Xiangling did not, as the verdict said, "live alone in the two places, and the fragrant soul returns to the hometown", but left descendants for the Xue family. Although she died in childbirth, it was actually a glorious dedication. The death of Yuanyang is not a tragedy, but a sacrifice of the Jia family and an honor of the Jia family. Hua Xiren married Jiang Yuhan and had a happy marriage and family. All these are inconsistent with Cao Xueqin's theme of "Thousands of flowers cry, and Wan Yan mourns together", with the prediction that "burning incense in the grave is the return of thousands of flowers", and with the thrilling tragic ending shown in Ming Yi's poems.
To sum up, the content reflected in Ming Yi's four poems on red poems is the content in the Ming version of A Dream of Red Mansions. These contents are either not available in the last forty chapters of Cheng Ben, or although they exist, they are fundamentally different in nature; But it is consistent with the trend predicted by Cao Xueqin in the first eighty times of the original work. This strongly proves that the last forty refusals of Cheng Ben's Dream of Red Mansions are not Cao Xueqin's original works. Classical redologists have discussed this issue authoritatively. The author's analysis of Ming Yi's four poems on red only provides another argument for this issue.
three
Judging from the contents of Ming Yi's four poems, Cao Shi's original work, that is, the plot of the Ming version of A Dream of Red Mansions after eighty, has the following points to pay attention to:
First, the relationship between Baoyu and Daiyu. Daiyu's illness worsened and Baoyu's love with her deepened. They often stay together, comfort each other, and then get engaged. But soon, Daiyu died of illness and Baoyu was heartbroken. Baochai comforted him constantly.
Second, the relationship between Baoyu and Baochai. Baochai has always loved Baoyu. Although Baoyu doesn't love Baochai, he has a good impression on her. After Daiyu's death, Baochai cared about Baoyu in many ways, and their relationship gradually became close. Get engaged and get married soon. After marriage, Baochai was very kind to Baoyu. Baoyu is always thinking about Daiyu. At this time, a catastrophe happened in Jiafu. Baoyu and Baochai suddenly separated, and Baochai might die. Baoyu fled and returned to Geng Qingshan, turning into a stubborn stone.
The ending of Sanjiafu. Great decline, great wealth, great destruction. All twelve women have tragic endings. Baoyu is lonely, scrawny and penniless, but he still maintains a proud personality. The book ends with a very painful tragedy.
Although we can't see the text of the post-80s fat version of "The Story of the Stone", we can generally infer something from the comments of many fat versions. According to the comment on "the last thirty chapters" mentioned many times in Zhi Pi, scholars speculate that there are 1 10 chapters in Stone. The Ming version of A Dream of Red Mansions seems to be 1 10 times. The reasons are as follows: compared with the plot of the fat version of The Story of the Stone, the three points of the Ming version of A Dream of Red Mansions after the eighties are mostly the same or similar; But there are also some differences, even great differences in some places. Based on the materials I have, I can infer the following two differences:
First, in the Ming version of Where Will Green moths Go? I'm ashamed of Skillen, almost all the twelve women and their daughters have a devastating ending. Before running away from home, Jia Baoyu was lonely, alone, and Qing E was no longer around. In the fat book's view, this is not the case. At this time, Jia Baoyu was surrounded by his wife Baochai, his maids Musk Moon, Maids Xiaohong and Xue Qian. Jiang Yuhan and Hua Shiren visited him from time to time. Daughters don't seem to be completely destroyed as shown in Ming Yi's poems. There are many comments reflecting this content in the last thirty chapters of the eighty chapters. For example, there is a comment in the twenty-first edition of Geng: "How can someone else abandon Baochai's wife and Sheyue's maid?" Jia Shuben's twenty-seventh general comment: "Besides, there is the great power of Baoyu behind Redjade." In the 26th chapter of the same book, Zhu Pi said, "Prison Temple, Redjade, Snow White and other words have been lost in large numbers." Geng Chenben's twenty-eighth general comment: "Although Guan Qi is an excellent person, he will always be the same as Xiren's dedication to jade brother Baoqing." It seems that compared with the Ming version, the tragic atmosphere of the plot at the end of the fat version seems to be weaker in this respect. However, if it is related to the second point below, it has another meaning.
Second, Jia Baoyu in the fat book is "highly toxic". There is a fat comment in chapter 21 of Geng: "The love of Baoyu is unparalleled in ancient times. However, Baoyu is extremely toxic, and the world cannot bear it. When you see the second half, you will see it clearly. These are the three major diseases of Baoyu. Baoyu has a poison that the world can't bear, so he can "pull back from the cliff" once. If others get Baochai's wife and Sheyue's maid, how can they abandon them and become monks? Jade lives in a remote place. " The so-called "extremely poisonous affection" is synonymous with "affection is not affection". It means ignoring and abandoning marriage, love and family. This fat review mentioned that before Baoyu left home, there were many wives and concubines at home, Baochai was sincere to him, and Musk and other ladies and concubines loved him. But he showed no mercy and left alone. This reminds me of General Quanshan Zheng, a former Kuomintang. He was dissatisfied with the evil rule of the Kuomintang and saw through the world of mortals. He resolutely abandoned his official position, wife and family and came to Chongqing Ciyun Temple to become a monk. His sick wife couldn't find him and wrote him a long letter. In that letter, his wife cried to him about her illness, saying that she was afraid of dying soon and begged him to go home and see her and her two young daughters. He read the letter, only sighed, and still read his Buddha wholeheartedly. This is the "extreme poison of love" that extraordinary people can do. Although Zhi Yanzhai criticized him for writing Jia Baoyu in this way, it was a very successful and wonderful writing style. It's not that Jia Baoyu has no feelings, but the dark reality forced him to live and had to make this move. It is the core content of Jia Baoyu's rebellious spirit to resist "ceremony" with "emotion" When "love" can't overcome "ritual" and his ideal is finally disillusioned, he would rather die, "give up the cliff", "wife of Baochai, maid of Musk Moon" than drift with the tide in secular society. (1) This "extremely poisonous" is Cao Xueqin's ingenious pen. It describes the corruption and darkness of the "prosperous time of kanggan" and the oppression of absolutism on love and human freedom.
In this way, the tragic significance of this content is more profound than that of the Ming version. It blames the root of the tragedy on the darkness of society. Jia Baoyu's departure was not, or not entirely, his dissatisfaction with his marriage and family, but that the whole society could not accommodate him. His "extreme poison" was forced out by a dark and corrupt society. It should be pointed out here that when Cheng Ben wrote about Baoyu becoming a monk in the last forty chapters, although his family environment was similar to that of Fat Ben, the social environment written by Cheng Ben was not bad. The imperial court was very kind to the Jia family, and both Jia Baoyu and Jia Huan were very successful. This is never described in the fat book. Therefore, although Baoyu became a monk in the fat book, his family environment is different from that in the Ming book, but it conforms to the plot logic.
Written by Qin Xue, why is there such a big difference between Ming Ben and Fat Ben? This problem will be discussed in detail in the next part of this article. Let me say one thing first: Because of the "obstacles" in the Ming version of A Dream of Red Mansions, its political criticism is too obvious to spread in the society. An authoritative person in Cao Xueqin's creative team, Zhi Yanzhai, failed and the author was forced to make a revision. The result still failed. So, following Jin Shengtan's example, Zhi Yanzhai produced A Dream of Red Mansions, which made this masterpiece "The Broken Arm Venus".
(End of the middle part, to be continued)
Note: ① See the online teaching plan of A Dream of Red Mansions by Professor Zhao of Xuzhou Normal University.
1997 65438+ The first draft in February was revised in July 2002, and the third draft was revised in August 2005.
A Study of A Dream of Red Mansions in Ming Dynasty (Medium-length)
Author: Zhu Bingquan recorded on September 8, 2005
A Study of A Dream of Red Mansions in Ming Dynasty (Medium-length)
—— Twenty New Certificates of tihongloumeng in Ming Dynasty (continued)
On the non-Xueqin original works in the last forty chapters of Cheng Ben's A Dream of Red Mansions
Zhu Bingquan
The contents of four poems named Red Poems in Ming Dynasty show that the contents of Cao Shiyuan's Dream of Red Mansions after the eighties are quite different from those of Cheng Ben's last forty poems, which proves that Cheng Ben's last forty poems are not Cao Shi's original works.
Key words: Ming Yi's poem tihongloumeng; Forty chapters after Cao Shiyuan's Dream of Red Mansions.
one
There are 20 poems about tihongloumeng in Ming Dynasty in A Dream of Red Mansions in Ming Dynasty (Part I), of which 16 reflects the contents of A Dream of Red Mansions before 1980s, but only 8 poems are consistent with those in Fei Ben and Cheng Ben. There are eight other times, which are not consistent. This proves that the Ming version of A Dream of Red Mansions is not exactly the same as the Fat version and the Cheng version.
This paper compares the contents reflected by Ming Yi's other four poems, namely, the 14th, 18th, 19th and 20th poems, with the contents of the last forty chapters of Cheng Ben and the fat book of the last eighty chapters to see their similarities and differences.
Scholars discussed the contents of these four poems about red. However, the author has many objections. Now I will analyze these four poems one by one to see what kind of plot they reflect in A Dream of Red Mansions.
two
First of all, compare Ming Yi's four poems about red with the contents reflected in the last forty chapters of Cheng Ben.
These four poems reflect what happened after eighty chapters of A Dream of Red Mansions, but they are totally inconsistent with the contents of the last forty chapters of Cheng Ben. Judging from this, Forty Chapters after Cheng Ben is not the original work of Cao Xueqin, but the sequel of others.
First, the fourteenth Red Psalm:
The more disgusting you feel, the better the peach blossom will be, and the tide will pick up again in the afternoon; I'm afraid it's a little ugly for the right person to see today's comforting words.
This poem reflects that Lin Daiyu is ill, and Jia Baoyu goes to visit the sick Daiyu. But which plot in the book is referred to, critics have different views.
Some people think it refers to the thirty-fourth time in this book: after Lin Daiyu wrote three love poems on Jia Baoyu's legacy, she "was all hot and her face was burning. She went to the mirror table and opened the mirror, only to see her cheeks flushed and her self-admiration overwhelmed the peach blossoms, but she didn't know that she was sick." (The original text of A Dream of Red Mansions quoted in this article can be found in the School Book of A Dream of Red Mansions Research Institute. At first glance, Ming Yi's poems refer to this plot; Actually, it is not.
First of all, the situation of Daiyu described in the book is completely different from that reflected in Ming Yi's poems. What is written in the book is that the body is hot, the face is hot, and it is as red as peach blossom. This is the beginning of the disease. Ming Yi's poems reflect that the symptoms of night sweats, hot flashes and fever every afternoon are more serious than before, which is the further deterioration of the disease.
Second, Daiyu has different feelings about her illness. The book is about the beginning of Daiyu's illness. She didn't realize it was a symptom, but felt "self-appreciation" for "blushing". Ming Yi's poem says, "The sicker you are, the more you feel ...", and this "feeling more of you" is of course deeply felt by Daiyu herself again and again. Lin Daiyu saw in the mirror that her face was more "peach blossom" than before. Every afternoon, the symptoms of night sweats and fever are more serious than before, and she knows that she is very ill.
Thirdly, Ming Yi's poems also reflect that Jia Baoyu visited Lin Daiyu when her condition deteriorated. In order not to let the right person worry about her illness, Daiyu tried to hide her illness and told Baoyu that she was much better than before. There is no such plot in this book now. At that time, Baoyu was beaten by his father and was recuperating in bed. Why did he come to see sister Lin?
Some people think that this poem refers to Jia Baoyu's sixty-fourth visit to Lin Daiyu in this book; Actually, it is not. Lin Daiyu in this reply did not understand the aggravating symptoms shown in this poem. Baoyu went to see her and saw that she was "very ill and invincible", because she had just had a drink offering at the melon and fruit festival. Lawton and sickly refer to fatigue, not morbid weight. Ming Yi's poem "The sicker you feel ..." is a kind of fever and excitement after the illness gets worse. On the surface, I am not "sick" but full of energy, which is why there is a cover-up of "the words of comfort today are almost". This time in the book, there is neither the symptom of "sweating in the afternoon" nor Daiyu's comforting words to people; They said a few words, Baochai came, and everyone appreciated the Five Beautiful Songs written by Lin Daiyu. Yi Ming's poems obviously don't reflect this matter.
A close reading of Ming Yi's On Red Poems reflects the late symptoms of Lin Daiyu's lung disease. Common sense of traditional Chinese medicine tells us that night sweats, hot flashes in the afternoon and cheekbones as red as peach blossoms are important features of the late stage of tuberculosis. The poem says that "the fever turns to increase" means that the fever is very high and the condition is aggravated. Baoyu saw that Daiyu's illness was getting worse and worse, so he came to see him. In order not to worry Baoyu, he deliberately concealed his illness in the dialogue and told the other party with comforting words that his illness has improved recently. "I'm afraid that the right person will see it, and today's words of comfort are even worse." This reminds us that when Lin Daiyu was seriously ill, the depth of her love with Baoyu also increased. A pair of lovers talk to their knees, feeling affectionate and comforting each other. This is not found in the first eighty chapters of A Dream of Red Mansions. According to the order of illness, Daiyu's illness should be aggravated after eighty times; Yi Ming's poems should be written after eighty times. However, in the last forty chapters of Cheng Ben, there is nothing like Ming Yi's poems. Although Lin Daiyu's illness is aggravated, it is very different from what Ming Yi said in this poem.
There are three times in "Forty Chapters after Investigation" about the aggravation of Lin Daiyu's illness. The first time I saw the eighty-second time, "Xiaoxiang was crazy and scared by nightmares." The second time I saw the eighty-ninth time, Daiyu was seriously ill because she overheard that Baoyu was engaged outside. Later, she heard that it was a rumor and recovered. The third time I saw the ninety-sixth and ninety-seventh times, Daiyu lost her mind because she learned the secret of Baoyu's engagement with Baochai, and eventually she couldn't afford to get sick. None of these three diseases has the symptoms and contents shown in Ming Yi's poems. When she was sick for the second time, although Baoyu went to visit, Daiyu had neither the symptoms of "love is better than peach blossom" nor the dialogue of "comforting words today". On the other two occasions, no Baoyu visited the doctor.
What needs to be pointed out in particular is that the description of Lin Daiyu's illness in Forty Chapters after Cheng Ben is very poor. For example, Lin Daiyu dreamed of her father's second wife for the first time, and her stepmother was engaged to take her back. She begged the old lady to save her, but she was refused. After waking up, she was seriously ill, coughing, spitting and vomiting blood. The author writes about dreams and diseases here, which is straightforward, not in line with Daiyu's character and boring to read; And repeatedly rendering the box of phlegm and blood really makes me sick. If Yi Ming reads this kind of writing, he will never have the inspiration to write poetry. He also wrote about seeing Daiyu, which is a transcript of Zhang's fourteenth visit to see a doctor. It is also divorced from personality and theme, and simply publicizing Chinese medicine knowledge gives people a feeling of showing off their medical skills. With this poor style of writing, it can be concluded that it is by no means the original work of Xueqin. However, at the time of Daiyu's dying, the plots in Ming Yi's poems still contain the lingering feelings of "Pinpin and Baoyu's infatuation" (Yong Zhong's poems), which is meaningful to read. This is the original flavor of snow celery.
Second, Ming Yi's "Red Psalm" Article 18:
A sad funeral poem seems to have come true unconsciously. Andrew died for love, a ray of red silk.
This poem is by no means written for Lin Daiyu's "mourning poem" in the twenty-seventh chapter of the book, but a mourning poem lamenting Daiyu's early death. When Yi Ming read the words of Daiyu's death, she thought of the heroine's past "mourning poems", which really became her short-lived prophecy, so she wrote this poem by extension.
Predictive brushwork is one of the artistic features of A Dream of Red Mansions. The author hints at the heroine's future experience through "funeral poems". There are two points worthy of special attention here: first, the use of "peaches and plums" implies that Lin Daiyu died young. Secondly, "the fragrant nest has been built in March, and Liang Zhongyan is too heartless", suggesting that although Baoyu and Daiyu were engaged, things changed later. Mr. Zhou also believes that the marriage with Baodai was decided before his death. In chapter 29 of Geng Chen Ben, Jia said that "enemies don't get together", and some critics said that "it's a deal", so they made it clear. Yi Ming's poem said, "There is a ray of Andrew's death for love, and there is a heavy cup of HongLing in the Qing Dynasty."