Red Chamber Decryption: Cao Xueqin is a collective concept

Regarding the Dream of the Red Chamber, what we often mentioned before was a hundred kinds of learning, a thousand lies, and of course, there are explicit and hidden texts, one throat and two songs, and there are allegories in the table. From the analysis of the absurd words on the paper, we can know that when the false is true, it is true and false, there is nowhere to do anything, and the Dream of the Red Chamber is created by various methods related to the existence and absence of truth and falsehood. The author of the Dream of the Red Chamber has always been a hot topic, because unlike other famous works, the text of the Dream of the Red Chamber specifically describes the author and the summary of the additions and deletions, and it is even more involved in the second criticism. The question of authorship has been discussed with the text for many years, but the intensity has been strong and sometimes weak. The traditional theory of "Cao Zuo Gao Continuity" has long been challenged, in fact, the author's attribution of the copyright of the Dream of the Red Chamber to the Cao Xueqin family is a misreading, and the positioning of Cao Xueqin as the original author is even more nonsense.

Regarding the authors and additions and deletions, the original text describes as follows:

Since then, the empty karate people have seen the color because of the emptiness, from the color of the love, the transmission of love into the color, the color of the Wukong, so they changed their name to the love monk, changed the "Stone Record" to "Love Monk Record". To Wu Yufeng's title is "Dream of the Red Chamber". East Lukong Meixi is inscribed "Treasure Book of the Wind and Moon". [Jia Shu Mei Batch: Xueqin used to have the book "Treasure Book of the Wind and Moon", which was his brother Tang Village's preface.] The village of Imatang has passed away, and the remnants of the new nostalgia are still there. Later, because Cao Xueqin read it for ten years in the Mourning Red Xuan, added and deleted five times, compiled into a catalog, and divided into chapters, it was titled "The Twelve Plates of Jinling". [Jia Shu Mei Comment: If Yun Xueqin read the additions and deletions, then who wedge this wedge opened to this point? This shows the author's style of cunning. There are many such cases later. This is exactly where the author uses the painting Smoke cloud blur, the viewer must not be hidden by the author, fang is a giant eye. ]

In the discussion about Cao Xueqin, the author often uses the magic pen, of which Xueqin's old book "Treasure Book of the Wind and Moon" is very critical. That is to say, there was a snow parsley very early on, and later it was said that after Cao Xueqin read it for ten years in the mourning Red Xuan, it was added and deleted five times, compiled into a catalog, divided into chapters and other languages, and then there was a snow parsley. What is the relationship between these two snow parsleys? From the previous analysis of the three invisible people facing the Dream of the Red Chamber, we know that the description of the text and the author of the Dream of the Red Chamber is written from true to false, from clear to vague. The interpretation of the Dream of the Red Chamber deciphered so many scandals and children born in the world by the family and the royal family, and it was obvious that the original author would never put his real name in the book. Xueqin's old "Wind Moon Treasure Book" refers to owning or holding, the copyright must not lie in himself, it is obviously Jia Baoyu's prototype wrote the Wind Moon Treasure Book. The "Tang Village" in this eyebrow batch is Liang Qingbiao, a scholar of Xiangguo University in the twenty-seventh year of The Kangxi Dynasty in Zhengding, Hebei, because Liang Qingbiao (1620-1691), the character Yuli, also known as Cangyan, the number banana forest, the nickname Yexi Yuyin, the Hebei Zhengding people, and the twenty-seventh year Xiangguo University scholar of Kangxi. He is the author of "Tangcun Words", "Tangcun Lefu", "Tangcun Songzhang", "Tangcun Essays", "Banana Forest Poetry Collection" and other works. The key lies in this Liang Qingbiao and Tang Village. Regarding the author of the Dream of the Red Chamber, some of Hu Shi's statements are correct and wrong, Hu Shi said in the "Examination of the Dream of the Red Chamber": "The book "Dream of the Red Chamber" is Cao Xueqin's autobiography. "Dream of the Red Chamber" is obviously a self-narrated book that 'hides the real thing'. If the author is Cao Xueqin, then Cao Xueqin is the deeply repentant 'I' at the beginning of "Dream of the Red Chamber".

Since the other name of Tangcun is Cao Xueqin, cao Xueqin has been reading in the Mourning Red Xuan for ten years, and the statement that it has been added or deleted five times is not a real writing, but a magic pen. The back here refers to the back of the Fengyue Baojian, not the "Stone Record", "The Record of the Love Monk", Wu Yufeng's "Dream of the Red Chamber" and the back of the East Lu kong Mei Xi, there is also a very strange name here, the others are all personal names, and the East Lu Kong Mei Xi is the name of a place plus a person's name. According to the common sense of writing, if the author is a person, it will not add or delete a work five times in ten consecutive years, the same is true for poems and sketches, the same is true for writing huge works, the flaws in the original text are seen, carefully conceived once can be revised to complete, and what is repeatedly revised is actually the continuous behavior of five people rather than the behavior of one person, so Cao Xueqin, the author of the Dream of the Red Chamber, should be a collective.

The author of Dream of the Red Chamber is a collective, which can also be seen from the annotations. Qin Keqing mourned Tianxiang Lou, and the author of the annotated cloud used historical pens. Old decay because of the soul of Feng Feng sister Jia family after the two things, it is a rich and honorable, sitting and enjoying people can not think of getting. Although the deed was not done, the meaning of his words was sadly convincing, and he was forgiven, because he ordered Qinxi to delete it. The word "old decay" here is very mysterious, and the deformed Wat himself has the right to modify the content in the text of the "Book of Stones", so it can be confirmed that the deformed Wat is one of the authors or additions and deletions of the Dream of the Red Chamber. The comments on the back are more important: in a few years, Qinxi, Fat Yan, and Xingzhai all went one after another, and now Ding Haixia, there is only one decay left, and it is better not to kill!　Here "decay" and "old decay" are the habitual self-designations of the deformed Wat, who mourns the deceased Li Yanzhai and other sons, first of all, it can be confirmed that the later busy writing and annotation is the collective act of a team, and the second proves that the Li Yanzhai and the Teratogon are not one person.

In summary, the creative collective of the Dream of the Red Chamber surfaced, and the empty karate people, Wu Yufeng, Donglu Kong Meixi and others were only pseudonyms in the text, while Qinxi, Li Yanzhai and Xingzhai Zhuzi, including The Deformed Wat Sorcerer themselves were pseudonyms in the annotations. The style of the Dream of the Red Chamber is unified, and the dialects in the text are diverse, obviously as additions and deletions, they do not add or delete much to the core text, except for the first addition and deletion of Wu Meicun to make a large-scale revision of the name of the original work, the work of several other people is only from the aspects of poetry and opera. What does Cao Xueqin mean? In the interpretation of the hundred family names, Cao Xueqin's Cao Yin Zhu surname, snow in the dream of the Red Chamber has a lot of description, should be a very important intermediary noun and verb, the Dream of the Red Chamber is hidden in two books, the snow hidden is the truth, and Qin refers to the reader. Therefore, Cao Xueqin's explanation is that the readers of the Zhu Ming Dynasty included not only the original authors as princes, but also many Ming Dynasty widows who were noted poets, writers, and opera singers.