It means: The place where I live is the peak of Qinggeng, and the place where I play is the vast universe. Between heaven and earth, who is traveling with me, and who am I with? Heaven and Earth Hongmeng, let us go back to the beginning.
Original text:
Where I live is the peak of Qinggeng; where I travel is the vast space. Who will die with me, and who will I follow? It's so dim and boundless, and I'm going back to the wilderness!
Source: Chapter 120 of "A Dream of Red Mansions" - Gao E of the Qing Dynasty
1. Hongmeng: the original chaotic state of nature imagined by the ancients.
2. The two sentences "Who and": It means: "Who will go with me? Who should I follow?"
3. Dahuang: the Dahuang mentioned at the beginning of the novel barren mountain.
Extended information
Appreciation of the work
Lu Xun believed that Jia Baoyu's becoming a monk in the sequel "may not be very different from the author's original intention, but he is wearing a gorilla felt cloak" It is surprising to worship his father." ("Small Introduction to "Jiangdong Flower Master")" There are many monks, but how many of them can wear such a broad cloak is undoubtedly a 'saint and transcendent'. "("On Seeing with Open Eyes") affirms the sequel's arrangement of the ending of Jia Baoyu's monkhood, while pointing out the fundamental shortcomings in the description.
The description of a monk holding Jia Baoyu hostage and leaving together is also inconsistent with the author's original intention. Jia Baoyu's becoming a monk is a prominent manifestation of his "remote" behavior. Zhi Yanzhai's comment that "there are extremely poisonous emotions that no one in the world can bear to do" is the contradiction between his own rebellious character and the reality of resentment and despair he feels. As a result of development, the attitude should be decisive.
When Zhen Shiyin passed away, he only said "Let's go!" and then "grabbed the Taoist's shoulder bag and put it on his back" and left. It was he who took the initiative to grab the Taoist's hand and urged him to leave, instead of being "caught" by the Taoist like Jia Baoyu in the sequel, who ordered him to "leave quickly now that the secular relationship is over." Zhi Yanzhai, who had seen the second half of the manuscript, said: "The word 'let's go' really means 'let go' on the cliff, if you can do it?" It means that Zhen Shiyin's decisive attitude is really like Jia Baoyu's later monkhood, and others can't do it. of.
Cao Xueqin wrote that Liu Xianglian's becoming a monk was like drawing a mandarin duck sword to cut off the threads of troubles, wiping them all away and never looking back. But what Jia Baoyu, Zhen Shiyin, and Liu Xianglian resolutely abandoned, the sequel author himself was very passionate about. Therefore, when he wrote such an ending against his will, it was impossible not to express regret, nostalgia, and compulsion. Here, two poems by Xue Baoqin can be used to comment on the sequel: "It is almost impossible to end the involvement, so don't blame others for laughing at you."
"Song of Lichen" was supposed to be a reflection of Jia Baoyu's cynical thoughts. However, the whole song contains only the same empty words as all the poems in the sequel. Over and over again, it just says that Jia Baoyu returned to Qinggeng Peak of Dahuang Mountain. It doesn’t even know who sang the song. It is deliberately confusing, as if Jia Baoyu, monks and Taoists have become a "trinity" and have become real immortal figures.