Yang Jizhen, the original collector of this manuscript, and two other inscriptions briefly explain it. Yang Jizhen, with the word "Yun", was named Lian Gong, nicknamed Yannan Scholar, and later named Er Quan Shanren. Li's internal affairs office is decorated with yellow flags. Another said that he was a desert flag man. Chu Deyi's "Supplement to Records of Epigraphy" said: Yang Jizhen, a young cloud, was born in the Han army with a yellow flag, and was a doctor of the Ministry of Industry. He collected epigraphy and was meticulous in everything, especially in Gu Quan coins. Yang Jizhen is the author of Poems of Xingfengtang and Smoke Boat Collection of Five Lakes. But the most famous is his collection of paintings and antiques. This manuscript contains his signatures of "You Yun" and "You Yun", as well as seals of "Yang Jizhen Seal", "The First Romantic Childe in Jiangnan", "You Yun You Yun" and "You Yun Kao Zang", but there is no seal of "Buddha Mei". Yu Yuan's word Qiu Yan (Spring) is also called Xing Bo and Xin Bo. Xiushui people. He is the author of Yi Su Lu Collection, among which Yi Li Lu Shi Manuscript has a poem with Yang Jizhen. Qin Guang's first tour, nicknamed Road flyover weiyun. Yu Yuan also has a poem "A Gift to Qin Ciyou (Guangdi) and a Topic on His Recent Draft". Visible three people are at the same time, and are good friends.
a comparative study of this manuscript. Since this manuscript is considered to be the manuscript of A Dream of Red Mansions written by Gao E, it is worth studying. Whether the answer is yes or no, it will be of great significance to the renewal of books in the last forty chapters and the edition history of A Dream of Red Mansions. I have compared it with other versions of The Story of the Stone, and studied various clues in this manuscript. Now the score points of the results are explained as follows.
(1) The original text of the first 8 chapters of this manuscript is different from the previous 8 chapters of Stone and A Dream of Red Mansions printed twice by Cheng and Gao. The so-called difference means that although they are almost the same, they are quite different from each other. It is easier to point out the differences with Cheng and Gao typeset copies. In the first eighty chapters, any changes in the text indicate the differences between the original text and Cheng and Gao Ben. But in addition, there are still many places that are different from Cheng's and Gao's typography and have not been corrected. For example, the first time, the sixth time and the seventh time, there are still residual fat batches. These are double-line comments, and the comment on writing is preceded by the word "batch". Yang Jizhen had already noticed that "there are four opening poems in the first few places, and there are also four endings, or two sentences are different." Lan Shu decided to go to the festival. " In fact, not only Cheng Jia's edition and Cheng Yi's edition don't have these poems about looking back or going back to the end, but many fat reviews "The Story of the Stone" found have such poems, but they are not the same as those in this manuscript. There are five back poems in this manuscript, and five back poems at the end. Among them, the following points are worth noting:
(1) There are poems about looking back in the fourth cycle, but there are none in Gengchen, Qixu and Jiaxu.
(2) There are poems about looking back in the fifth cycle, and Qi Xuben also has them, but Jiaxu and Gengchen don't.
(3) There is a poem at the end of the fifth cycle, but Jia Xu didn't. Although Geng Chen's version and Qi Xu's version also exist, their poems are different.
another similar example is the official protector of the fourth cycle. Cheng Jiaben and Cheng Yiben only have the official symbols of Jia, Shi, Wang and Xue, but there is no note below. Several other fat-approved "Stone Story" have small notes here, indicating that each family has several rooms, several rooms in Beijing, and several places of origin. This hundred and twenty manuscripts have similar notes here, but they are not the same as the fat batches. At the bottom of the "Wang family", the notes in Jiaxu and Qixu both read: "After Du Taiwei ruled the Duke of Bo, there were 12 rooms, all of which were second rooms, and the rest were registered." This hundred and twenty manuscripts here are "... * * * Twelve Li, all of whom now live in five rooms and are originally from seven rooms."
The separation and return of the seventeenth and eighteenth chapters is also a very interesting example. There is no separation between Ji Mao Ben and Geng Chen Ben. It is not known whether Jiaxu has been separated from this two times. Cheng Gao's typography and Qi Xuben separate these two times. However, they are separated in different ways. The seventeenth cycle of Qi Xuben is shorter than that of Cheng and Gao Ben. That is to say, a large part of the story in the second half of the seventeenth cycle of Cheng and Gao Ben was placed in the eighteenth cycle in the preface of Qi. The seventeenth and eighteenth chapters of the hundred and twenty manuscripts are also separated, and the way of separation is the same as that of Qi Xuben. However, on the other hand, the 17th and 18th chapters of this manuscript are different from those of Qi Xuben. The preface to Qi is:
The 17th chapter: The Grand View Garden tried to get the title right, and Yihong Garden got lost and explored the twists and turns
The 18th chapter: Celebrating the Lantern Festival, Jia Yuanchun returned to the province, and helping her lover Lin Daiyu to pass on poems
The titles of these two chapters are:
The 17th chapter: The Huifang Garden tried to get the title right, and Jia Maiyu moved the guests wisely
The 18th chapter. Jia Yuanchun returned to the province to celebrate the Lantern Festival
, but Cheng and Gao typeset the manuscript here:
The 17th chapter: The Grand View Garden was tested to get the right title, and the Rongguo Mansion returned to the province to celebrate the Lantern Festival
The 18th chapter: Huang En paid great attention to his parents, and his family was happy and Baoyu showed talent
In fact, there are many titles in the first 8 chapters of this 12-page manuscript, which are different from any fat review and different courses. "Changing the text" only changes the words of the "text" to make it consistent with Cheng Yi's version, but it has not changed the same title. Yang Jizhen himself has indicated that "there are 17 places where the contents and elements are different". These seventeen places all appeared in the first eighty times. From all these signs. The "text" of the first 8 chapters of this 12-page book comes from … a special fat review book. It is not only different from all kinds of fat evaluation books that have been found, but also different from Cheng Gao's two typesetting books.
(2) Secondly, we should talk about the last 4 chapters of this transcript. Up to now, the only words we have seen since the eightieth chapter of A Dream of Red Mansions are the books printed twice by Cheng and Gao, which are the so-called "Cheng Jiaben" and "Cheng Yiben". (It is reported that the Beijing Library has found another 12-copy transcript, which is not quite the same as the one that has been photocopied. Unfortunately, we can't see it. ) The last 4 pages of this photocopied 12-page manuscript, as a whole, are different from Cheng and Gao's two printouts. If subdivided, this can be divided into two situations. Twenty-one of the last forty chapters of the manuscript were changed by major changes. The text of these twenty-one chapters is different from Cheng Jia's version and Cheng Yi's version. Its main feature is that it is much shorter than the above two typographical texts. According to my rough estimate, the average number of words in the 21 texts of this transcript is at least one quarter less than that in Cheng and Gao typeset copies. In the other nineteen of the forty chapters after the manuscript, there was no change except for correcting individual typos. The text of these nineteen chapters is completely the same as the second one. Wang Yuanfang and today's red scholars in mainland China have collated the similarities and differences in the process A and Cheng B in detail more than once. We can check their "proofreading notes" with this transcript. The result is that these nineteen chapters are completely the same as Cheng Yiben, without exception.
(3) talk about the situation of "changing the text" again. All the "corrections" in the 12 chapters are the same as Cheng Yiben, without exception. However, if we carefully study these "changes" and the places where "changes" appear, we can find three points worthy of attention. The details are as follows:
(l) As mentioned earlier, 21 of the 4 manuscripts have been revised, and they were changed greatly and specially. But in the other nineteen times, there was no change except for correcting individual typos. It's strange to push harder. No matter whether the author is revising his own manuscript or collating another book in his own hand according to Cheng Yiben, it stands to reason that there should be some changes every time. We can't blame this situation on this person's negligence or omission. If this person suddenly gives up revising Wang Zuo after revising several times, then the person who has not revised the text for 19 times should be the last 19 times of the manuscript. But the fact is not the case. Those who haven't changed the text in these nineteen chapters are mixed among other chapters. The only reasonable explanation for this is that these nineteen times have been changed, but because they were changed too much and too disorderly, this person immediately copied them again. These nineteen chapters were changed and copied again, so they are completely consistent with these nineteen chapters in Cheng Yi's book.
(2) There are fewer "changes" in the first eighty chapters than in the last forty chapters. And the nature of the two seems to be different. In the first eighty chapters, it seems obvious that this person is correcting another manuscript in his hand according to Cheng Yi's original manuscript. Where there is any discrepancy between the text of the transcript and Cheng Yiben, this person corrects it according to Cheng Yiben, so there are some deletions and some additions. However, in the last forty chapters, except for the deletion of one or two words, only Gao E's manuscript was added. No writer only added without deleting his manuscript, but usually both. On the positive side, this phenomenon also shows that the last forty chapters of this manuscript are indeed closely related to the last forty chapters of Cheng Yi. Cheng Yi's Forty Chapters of Shinohara were born out of such a manuscript, or were processed and arranged by such a manuscript. Moreover, this person who was processing and sorting kept a principle in the process of processing and sorting, that is, on the one hand, he should modify the sentences in the original manuscript, on the other hand, he should try not to discard the words in the original manuscript. All the words in the manuscript need to be preserved. Under this condition, the only way to modify the article is to beautify it by adding words.
(3) If we further study the nature of these "revisions" in the last forty chapters-that is, the differences between the text of this transcript and Cheng Yi's version-we can divide them into two categories. The first kind is to beautify the original sentence and plot. The original text sentence is simple, straightforward and not delicate, so it is complicated, beautified and described deeply and delicately. So sometimes the original text is only two or three sentences, but it is expanded into hundreds of words. Judging from these examples, the reviser is by no means the same as the author of the original text. The literary accomplishment of the reviser is much better than that of the author of the original text. The second category is changes that belong to one or two words. Or change the words used in classical Chinese into spoken Chinese, or change non-Beijing dialect into authentic Beijing dialect. This kind of change is thorough. Anything that should be changed according to this principle is rarely missed. Give a few examples:
"we" is changed to "we". Change "busy" to "hurried".
change "scattered" to "scattered,"). Change "promise" to "promise".
change "at this time" to "sooner or later"; Change "when" to "how soon".
"shake your head" and "nod your head" were changed to "shake your head" and "nod your head".
change "tomorrow" and "today" to "tomorrow" and "today".
change "and" to "give".
change "house wrap" to "house wrap".
the words "for a while", "place" and "family" were changed to "for a while", "place" and "family".
the word "exploration message" was changed to "exploration message".
change "good" to "good".
the word "extraordinarily loud" was changed to "extraordinarily loud"
There are many such examples, which are too numerous to mention. In short, this person has completely changed. Everything that can be changed has been changed. From the linguistic point of view, this modification is of great significance. As we all know, Cao Xueqin hopes to make use of the spoken Beijing dialect in his original eighty chapters of The Story of the Stone. But he didn't do it completely. For one thing, because he didn't emphasize this point too much, he didn't try to implement it. We can find (/we) and "we" used together in the eighty chapters of The Story of the Stone. Use today, today, tomorrow, tomorrow, yesterday and yesterday. There are not many other places where the word "er" is added. In particular, Cao Xueqin seldom uses "morning and evening" instead of "time". Second, whether Cao Xueqin is a southerner or not, although he lived in Beijing after his childhood, he probably still has a southern accent. For example, in The Story of the Stone, "Qinggeng" is homophonic with "Love Root", "Qin" is homophonic with "Love", "Yu Xin" is homophonic with "Stupidity" and "Meng" is homophonic with "Men". Zhi Yanzhai has already pointed out Cao Xueqin's tendency of "using both the north and the south". In the thirty-ninth chapter of Geng Chen's book, he criticized: "According to the tone of speech of some people in this book and the use of utensils and foods, the East, the West, the North and the South are used together." Back in the 53rd session, Zhi Yan brought this matter up again and approved: "This article of mutual use between the North and the South was approved correctly." Third, Cao Xueqin didn't completely adopt Beijing dialect, which may also be intentional. The Jia family comes from Jinling, and their accent should be with some southern accent. Xue Qin doesn't want to describe them all as "old Beijing". No matter what the reason, it is undeniable that Xue Qin didn't make full use of Beijing spoken language. However, the changes in the last forty chapters are different. This person noticed that Xue Qin had used Beijing spoken language, and at the same time noticed that the author of the last forty chapters simply ignored it, so he completely changed the last forty chapters into Beijing spoken language. This means that the "text" and "revised text" of this manuscript after forty times are not written by Cao Xueqin. The author of the "text" and the author of the "revised text" in the last forty chapters are two different people. Cao Xueqin uses both the north and the south. Although he uses some Beijing spoken language, he does not overemphasize this point. The author of the "text" of the last forty chapters completely ignores this feature of the first eighty chapters and never uses Beijing spoken language at all. However, the author of this "revision" is a native of "old Beijing". He grasped the peculiarity of the first eighty chapters, especially emphasized it, so he completely changed the last forty chapters into Beijing spoken language.