The latest achievement in red science research - "Cao's Dark Law", giving you a new "Dream of the Red Chamber"

The study of "Red Studies" requires perseverance and truth, and even more the courage to keep pace with the times and dare to break the shackles of tradition

---------------------------------------

Full of absurd words, a handful of bitter tears.

All cloud authors are stupid, who understands the taste?

The above four poems are from the first time of the book "Reappraisal of the Stone Record" (hereinafter referred to as the "Reappraisal of the Stone Record"). One of the twenty characters is a "solution" word and a "taste" word, which means a lot, and a "who" word reflects the infinite expectations of Cao Xueqin, the author of "Reappraisal of The Book of Stones", for later generations to correctly interpret the "Reappraisal of the Stone Record".

"Taste" person "mystery" also, where does it come from? From the book. "Solution" is also "interpretation", what method can be solved? There is no need to seek the near and far, go back to the source, the puzzles in the book naturally have to find answers from the book. "Taste from the book to the book to solve" is one of Cao Xueqin's important writing methods, and it is also the most direct and effective method of flavor interpretation left by Cao Xueqin to posterity. Whether the answers found in the book are correct or not depends on creative practice to prove. Below we use the content of "Reappraisal of the Stone Record" as the answer, with the creative practice as a test, two halves and one, to solve the mystery of the book "Fat Yan Zhai Reappraisal of the Stone Record" that has plagued the "Red Study" for hundreds of years.

1, background material

1. A book in the shanghai museum's collection entitled "The Reappraisal of Stones by Fat Yan Zhai". Because it has fifteen characters in the first text of the text, "To the Fat Yan Zhai Jia Shu Copied and Re-evaluated, still using the Stone Record", it is called "Fat Yan Zhai Reappraisal of the Stone Record Jia Shu Ben" (hereinafter referred to as the "Jia Shu Ben"). The year of the Qing Dynasty is 1754 AD. The Kojimoto is the earliest surviving version of the Reappraisal of the Stone, but it is not the final version.

Features of the Kojimoto:

(1) The Jia Shu Ben is a fragment of the book, and only sixteen times remain in the whole book, that is, one to eight times, thirteen to sixteen times, and twenty-five to twenty-eight times.

(2) At the beginning of the volume of the Jia Shu Ben, there is an article "Ordinary Cases" with seven laws of poetry. The Mortal Examples are unique to the Kojimoto and are the most distinctive feature that distinguishes it from other surviving versions.

The article "Ordinary Cases" is as follows:

"The purpose of "Dream of the Red Chamber" is that the title of the book is very numerous.

"Dream of the Red Chamber" is the name of its entirety. Also known as the "Treasure Book of the Wind and Moon", it is the love of guarding against the wind and moon. Also known as the "Stone Record", it is the self-described stone record of the things also. These three have been highlighted in the book. For example, in Baoyu's dream, there is a song called "Dream of the Red Chamber" twelve, which is the highlight of "Dream of the Red Chamber". Another example is Jia Rui's illness, the lame person holds a mirror, which is the four words of "Wind Moon Treasure Book", which is the point of "Wind Moon Treasure Book". Another example is that when the Daoists saw a story in the great book on the stone, it was the correspondence recorded by the stone, and this was the finishing touch of the "Stone Record". However, this book is also known as "Jinling Twelve Chao", and its name must be the Twelve Women of Jinling. However, the thorough search and inspection of the department, the upper and lower women are not only twelve people? If there are twelve of them in the cloud, then it is not clear that it is so-and-so, and in the "Dream of the Red Chamber", the book of the Twelve Pieces of Jinling has also been turned over, and there are twelve songs to be examined.

In the book, where Chang'an is written, between the writers and inks, it is called from ancient times, and where the foolish couple and women's common quarrels are called "Zhongjing", they do not want to be in the direction. The state of gai tianzi should also be respected in the middle, and the four words "southeast, south, and northwest" should be avoided.

This book is only intended to be in the boudoir, so the things in the boudoir are cut, and those who are slightly involved in foreign affairs are simple, and cannot be said to be uneven.

This book did not dare to interfere with the imperial court, and those who had to use the government of the dynasty only used a slight stroke to bring it out, and Gai Shi did not dare to write the pen of his children to ink the Tang Dynasty court above it. Nor can it be said that it is not prepared.

The first time this book opened, the author Ziyun: "Because I have experienced a dream, I hid the real thing, and the book "Stone Record" was also written, so it is called 'Zhen Shi Hidden Dream Knowledge'. "But what is written in the book, and why is it written as a book? ZiYun: "Today the wind and dust are in full swing, and nothing has been accomplished, and I have overlooked all the women of that day, and I have pushed them one by one, and I feel that their actions and insights are all above me." Why should he raise an eyebrow, if he doesn't have a dry skirt? Shame is more than enough, regret is useless, and the day of helplessness is also. At this time, he wanted to make up a record of the sins of relying on Tian'en and inheriting Zude, when he was dressed in brocade, when he was sweet and beautiful, when he betrayed the grace of his parents' education and the virtue of failing the discipline of his brothers, and he had achieved nothing to this day and had been ruined for half his life. Although my sins are inextricably inextricably bound, there are people in the boudoir who have been in the history, and they must not be destroyed because I am not shawn. Although today's rafters are fluffy, the tile stove rope bed, its wind and the moon, and the willow garden flowers, it has not hurt my pen and ink. Why not use a false village dialect and put on a story to please people's ears and eyes? Hence the name 'Wind and Dust Show'. "It is the first time that justice is also the title. At the beginning of the volume, the cloud "wind and dust nostalgic boudoir show", it is known that the author originally intended to record the girlfriend's feelings of the day, not the book of the time when complaining about the world. Although it is involved in the state of the world for a while, it is necessary to narrate it, but it is not its original purpose, and the reader must remember it. Poetry:

Floating life is very hard to run, and the feast is finally dispersed.

Sorrow and joy are as illusory as ever, and dreams of ancient and modern times are absurd.

Rumors of red sleeves are heavy, and there are more lovers who hold hatred for a long time.

The words seem to be blood, and ten years of hard work is unusual. ”

2. Peking University Library has a book entitled "The Reappraisal of Stones of Fat Yan Zhai". Because the beginning of each volume indicates that "Li Yan Zhai Fan has read and commented on the fourth reading". The cover title of the fifth to eighth volumes is "Gengchen Autumn Moon Finalization" or "Gengchen Autumn Finalization", so it is called "Fat Yan Zhai Reappraisal Stone Record Gengchen Ben" (hereinafter referred to as "Gengchen Ben"). The year of Gengchen in the Qing Dynasty is 1760 AD.

After twenty years of research and creative practice, it is entirely possible to draw the following conclusions: "Gengchen Ben" is the final version of the "Reappraisal of the Stone Record of Fat Yan Zhai".

Features of "Gengchen Ben":

(1) The Gengchen Ben extant seventy-eight times, that is, from one to eighty times, and the sixty-fourth and sixty-seventh times are missing.

(2) The seventeenth to eighteenth times of the "Gengchen Ben" have only one review of the "Grand View Garden Examination Questions on the Yuanxiao of the Province of RongGuofu Return to the Province".

(3) The nineteenth time of the Gengchen Ben has no return.

(4) The eightieth time of the Gengchen Ben has no return.

3. "The Dream of the Red Chamber- The Chronological List of the Stone Records Gengchen Book", written by Gao Jia and published by Xinhua Publishing House.

Pages 156 to 178 of the book "The Dream of the Red Chamber - Reappraisal of the Stone Record Gengchen Ben Chronology Table" (hereinafter referred to as the Chronological Table) is "The Reappraisal of the Stone Record gengchen ben timeline of the Fat Yan Zhai". The memorabilia accurately and intuitively records the time series of the Gengchen Ben in the form of a list, which is the chronological basis for the creation of this book, "Dream of the Red Chamber - The Legend of Daiyu of the Marriage of Wood and Stone" (hereinafter referred to as the Legend of Daiyu).

Second, crack the mystery of the book "Reappraisal of the Stone Record".

1. The mystery of the title of "Reappraisal of the Stone".

As the title of the book "Reappraisal of Stones", "Reappraisal of Stones" is itself a puzzle and a question. Why did Cao Xueqin, the author of "Reappraisal of The Book of Stones", give the name of "Reappraisal of Stones", which had been painstakingly written over ten years, and put the three words of "Li Yanzhai" before the three words of "Stone Record", and even the prominent and prominent position at the beginning of the whole text of "Reappraisal of Stones"?

"Taste from the book to the book to solve", cracking the question also needs to start from the two books of "Jia Shu Ben" and "Gengchen Ben".

Comparing the full texts of the Two Books of the Kojibun and the Gengchen Ben, there are the following similarities:

(1) The titles of the two books "Jia Shu Ben" and "Gengchen Ben" are "Li Yan Zhai Re-evaluating the Stone Record".

Although there is a gap in the year in which the two books were written, the titles are the same, and the main storyline is the same, indicating that the two books were written in different years and compiled the same book.

When the two books of "Jia Shu Ben" and "Gengchen Ben" were written, the author Cao Xueqin was still alive, and the title of his own work was reasonable and logical, and the title should be Cao Xueqin's personal determination.

(2) The main text in the full text of the two books is written in black ink, and there are annotations written in red ink between the pages, but the number of words in zhu pen is far less than the number of words in ink books.

Undoubtedly, the form of writing expression presented in the full text of "Reappraisal of the Stone Record" in front of the eyes of the world is Cao Xueqin's ink book text plus the Zhu Pen annotation of Li Yanzhai (hereinafter referred to as the Fat Batch).

From the above similarities, the following conclusions can be drawn:

The full text of "Reappraisal of Stones" is a combination of the main text of Cao Xueqin's storyline and the lipogram, which is an indispensable part of the whole text of "Reappraisal of Stones", so the real name of "Reappraisal of Stones" can only be Cao Xueqin's personal identification of "Reappraisal of Stones of Fat Yanzhai", which cannot be called "Dream of the Red Chamber" or other.

The above conclusion solves some of the doubts about the mystery of the title of the Reappraisal of the Stone. Since the full text of "Reappraisal of the Stone Record" is a combination of the main text of Cao Xueqin's plot of the storyline and the annotations of Fat Yan zhai, it is reasonable for the three words "Fat Yan Zhai" to appear in the title. At the same time, the previous similarities also reveal another fact, that is, "the number of words in Zhu Pen is much smaller than the number of words in ink books", which is extremely disproportionate to the position of the three characters of "Fat Yan Zhai" at the top of the whole text.

Cao Xueqin put the three words "Fat Yan Zhai" at the beginning of the whole text, indicating that Cao Xueqin thought of reminding the world when she personally decided the title: First, the fat batch is indispensable; second, the status of the fat batch in the book is very important, even higher than the main text of the ink book he created, and there is a sense of no longer existing without the fat batch "Reappraisal of the Stone Record". Cao Xueqin pushed the fat Yan Zhai so much, what is the role of the fat batch in the book? It is not difficult to carefully read the "Reappraisal of the Stone Record" and find that the role of the lipogram in the book is also extremely disproportionate to the position of the three words "fat Yan Zhai" at the top of the whole text.

First of all, the lipogram is not an integral part of the storyline, but completely attached to the main text of the ink book. If the lipids are extracted separately, they become rootless woods, fragmented, and unsystematic, completely meaningless. On the other hand, the body of the ink book, its integrity, observability, and interest can be read independently without the influence of the lipogram, and the lipid batch seems to be dispensable or even superfluous for the body of the ink book. The small number of fat batches that are outside the storyline but are pushed by Cao Xueqin to the extreme, must have an unusual intention? Cao Xueqin gives the answer in the book, which will be revealed in the following "Mystery of the Many Titles of the Stone Record".

2. "The Book of Stones" has a lot of mysteries.

There is the same passage in the first two books of the Kojibun and the Gengchen Ben, as follows:

When the empty karate man heard this, he pondered for a moment and reviewed the Book of Stones again, for although he saw that although some of the above were accusations of adultery and condemnation, nor was it the purpose of cursing the world when he was wounded, nor was he the king and the benevolent minister, the good father, the benevolent father, the filial piety, and the places where Allen was often concerned were praised for merit and virtue, and the relatives were infinite, and they were not comparable to other books. Although the main purpose of the intercourse is to talk about love, it is not a fact of recording the facts, and it is not a false pretense, blindly inviting sexual invitations and secretly booking and stealing alliances. Because he did not interfere with the times, Fang copied it back from beginning to end and came out as a legend. 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". 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". ”

In this text, there are five titles of "Stone Record", "Record of Love Monks", "Dream of the Red Chamber", "Treasure Book of the Wind and Moon" and "Twelve Pieces of Jinling", plus the title of the first volume, "The Reappraisal of stones by Fat Yan Zhai", a total of six titles. Why are there so many titles in a book? What is the interrelationship between titles? Cao Xueqin, with the help of the Spring and Autumn Brushwork, in this text, is true and false, false and real, that is, gives a lot of questions with a lot of titles, and at the same time asks and answers herself to give answers.

The derivation of the answer is as follows:

(1) "Review the Book of Stones again" and "Fang copied it back from beginning to end and came out as a legend", strongly suggesting that Cao Xueqin once wrote a book titled "Book of Stones", which is the whole book "from beginning to end". This implication should be true, and there is indeed a complete book of the Stone Book with a complete storyline, which should be the first draft but has not been passed down.

(2) "From then on, because of the emptiness, the empty karate people saw the color, gave birth to love from the color, passed on the love into the color, and changed the name of the love monk to the "Record of the Love Monk" because of the color Wukong. To Wu Yufeng's title is "Dream of the Red Chamber". Donglu Kongmeixi is inscribed "Treasure Book of the Wind and Moon". The meaning expressed in this text is very clear, "Stone Record", "Love Monk Record", "Dream of the Red Chamber" and "Treasure Book of the Wind and Moon" are the same book with different titles but the same storyline. The four titles of "Stone Record" and other four titles should be synonymous with the revised drafts of Cao Xueqin's revisions at different times when she created the whole book of "Stone Records". The three revised drafts of the "Record of the Love Monk", "Dream of the Red Chamber" and "Treasure Book of the Wind and Moon" have not been passed down like the first draft of the entire "Stone Record".

Yu's similar experience in the process of creating the book "The Legend of Daiyu" is enough to prove it. The book "The Legend of Daiyu" was written for ten years, and after the first draft was completed, it went through six revisions before finalizing. Cao Xueqin created the entire "Book of Stones" four times, and it is not surprising that it changed its name three times.

(3) Constructed a succession relationship from the whole "Stone Record" to the "Twelve Pieces of Jinling". From the stone - the empty karate man (love monk) - Wu Yufeng - Kong Meixi - Cao Xueqin. The book is written in the front and the book is approved in the back, and the name of Li Yanzhai does not appear among the people who make up this inheritance relationship. The inheritance relationship is false, and the meaning expressed is true: the books with different titles corresponding to the inheritance relationship, "Stone Record" - "Record of Love Monks" - "Dream of the Red Chamber" - "Treasure Book of the Wind and Moon" - "Jinling Twelve Chao" are all books without fat.

(4) "Later, because Cao Xueqin read it for ten years in the Mourning Red Xuan, added and deleted five times, compiled into a table of contents, and divided into chapters, the title was "The Twelve Pieces of Jinling". This passage is the most important and crucial answer to the mystery of the book "Reappraisal of the Stone Record of Fat Yan Zhai".

"Five additions or deletions". A "add" word and a "delete" word determine that Cao Xueqin's book titled "Jinling Twelve Chao" has a difference in content from books such as "Stone Record". It turned out that Cao Xueqin had "added or deleted" on the basis of the whole "Stone Record" created by herself, and the content after the "addition and deletion" was the text of the ink book in the "Gengchen Ben" that exists today, and the book that had been "added and deleted" was "compiled into a table of contents and divided into chapters", with the title "Jinling Twelve Chao". Li Yanzhai made annotations on the book "Jinling Twelve Chao" formed by "additions and deletions", and the "Jinling Twelve Chao" with fat criticism, Cao Xueqin's final title was "Fat Yan Zhai Reappraisal of Stone Records". The "final inheritance relationship" between the titles is: "Stone Record" - "Love Monk Record" - "Dream of the Red Chamber" - "Wind and Moon Treasure Book" - "Jinling Twelve Chao" - "Fat Yan Zhai Reappraisal of Stone Record".

The following conclusions can therefore be drawn:

(1) "Gengchen Ben" is the final version of Cao Xueqin's grand masterpiece, and it is also the final final version of Cao Xueqin's decision to pass it on to the world. The title of the final edition is "The Reappraisal of the Stone Record of Fat Yan Zhai". The Gengchen Ben is not the whole text, but the final version of the whole "Book of Stones" after addition and deletion, and only one to eighty times with the annotations of Li Yanzhai remain, so it cannot be called "Stone Record", "Record of Love Monks", "Dream of the Red Chamber", "Treasure Book of the Wind and Moon", and "Twelve Pieces of Jinling".

(2) Through human intervention, the remaining parts of the "Fat Batch" in the Gengchen Ben can also be passed on independently into books, such as Cheng Jia Ben and Cheng Yi Ben, but it cannot be titled "Li Yan Zhai Re-evaluating the Stone Record", can only be titled "Jinling Twelve Chao", nor can it be called "Jinling Twelve Chao" as "Stone Record", "Love Monk Record", "Dream of the Red Chamber" or "Treasure Book of the Wind and Moon".

(3) "Stone Record" ¬ can be called "Love Monk Record", "Dream of the Red Chamber" or "Wind and Moon Treasure Book", these four unborn books are all complete texts, representing the four creative finalization processes of Cao Xueqin's creative period, and are the common ancestors of the Gengchen Ben.

The mystery of the book "The Reappraisal of the Stone Record" seems to have been unveiled, but new questions have emerged. Since ancient times, people who have written books have a beginning and an end, but Cao Xueqin is unusual, obviously has written a full copy of the "Book of Stones", and has been revised to the "Treasure Book of the Wind and Moon" three times, why should he change his original intention, "self-destruct the Great Wall", give up the whole "Book of Stones" that he spent a lot of painstaking efforts to write, and only pass it on to the world as the eighty times after "additions and deletions"? The answer to this bizarre approach is still in the book.

3. The mystery of the book "Gengchen Ben".

From the whole "Stone Record" to the "Gengchen Ben", the word "addition and deletion" is the focus, "addition" need not be said, "deletion" and what is deleted? The missing part of the text in the Gengchen Ben is naturally the biggest doubt.

First: The Gengchen Ben only survives one to eighty times, and the text after eighty times is missing, and it is obvious that the text after eighty times has been deleted.

Second: The Gengchen Ben is missing the sixty-fourth and sixty-seventh times, but these two times can be copied back from other surviving manuscripts. In addition, the "Gengchen Ben" is "added and deleted" five times after the purpose of the division, since the two times have been completed, it cannot be said that these two times were deliberately deleted by Cao Xueqin from the "Gengchen Ben", which is likely to be caused by omissions in the copy.

Third: From one to eighty times, the Gengchen Ben has deleted some of the text compared with the entire "Book of Stones". What text was deleted? There is an answer in the article "Mortal Examples" of the Jia Shu Ben, which predates the Gengchen Ben:

(1) "This book is only intended to be in the boudoir, so the things in the boudoir are cut, and those who are slightly involved in foreign affairs are simple, and must not be said to be uneven." ”

In the "Gengchen Ben", the words "involved in foreign affairs" were deleted, such as Daiyu returning to Jiangnan to visit her father, Jia Zheng's grain relief, etc.

(2) "This book does not dare to interfere with the imperial court, and those who have to use the government of the dynasty only use a slight stroke to bring it out, and Gai Shi does not dare to write the pen of children and ink the Tang Dynasty court above it." Nor can it be said that it is not prepared. ”

In the Gengchen Ben, the words "interference with the imperial court" were deleted, such as the death of Qin Keqing, Baochao to be elected, and Daiyu to be elected three times.

The first deletion makes the overall storyline abruptly stop after the eighty times, without a complete and reasonable ending; the third deletion makes the chronological order presented by the eighty times complicated, the storyline fragmented, and when reading, it will be full of confusion and doubts, and when it is deeply explored, it will be unclear because of its lack of one, and the overall context of the storyline will lead to inability to start or deviate in the direction of exploration, which is also its charm, which has contributed to the emergence of a hundred years of "red science".

Cao Xueqin created the entire "Book of Stones", which was finalized four times before and after, changed its name three times, and then "read it for ten years, added and deleted five times," and finally passed it on as an incomplete "Gengchen Ben". The answer is no. After research, Yu believes that this is just a writing method created by Cao Xueqin, who has never come after the ancients, who has reached the pinnacle and surpassed the times, and Yu temporarily called this writing method "Cao's dark legality".

"Cao's secret legality" is to delete and delete some of the text of the whole "Book of Stones" as "Gengchen Ben", hoping that one day after "who" can truly "decipher", and then strictly supplement and continue to write the deleted and deleted part of the text into the "Gengchen Ben". This is like writing a couplet, Cao Xueqin used the "Gengchen Ben" to do the upper link, looking forward to posterity to use the supplementary and continued text to make up the lower link, the upper and lower links are two halves and one, yin and yang intersect, reproducing the original appearance of the whole "Stone Record".

Evidence 1: "Lipogram" and "Lipid Batch".

In the "final inheritance relationship" mentioned above, "The Reappraisal of the Stone Record" is compared to the whole "Stone Record", although the words "one" and "three" are deleted in the main text, but the five words of "Fat Yan Zhai Reappraisal" in the title and the "Fat Batch" in the main text are added. After revision, addition, deletion, and annotation, from the "Book of Stones" back to the "Book of Stones", Cao Xueqin's intention has been very clear: "Fat Yan Zhai" symbolizes the later "people who supplement and continue to write"; "Fat Batch" symbolizes the "supplement and continuation" of posterity. Cao Xueqin placed the three words "Fat Yan Zhai" at the beginning of the full text of the "Reappraisal of the Stone Record", and then passed it on as the "Gengchen Ben" with the fat criticism, which is to imply that the author allows the name and annotation of the approval book to enter the "Gengchen Ben", and also allows the "supplementary text and continuation" made by later generations to enter the book. "All cloud authors are stupid, who understands the taste?" " The two sentences are not only an expectation for future generations, but also a spur, but also a kind of belief: one day, the wisdom of future generations will eventually add a perfect end to the great work of "Stone Record".

Evidence 2: In the first text of the Jia Shu Ben, there are fifteen characters that read "Zhi Yan Zhai Jia Shu copied and re-evaluated, still written in stone".

In just fifteen words, the origin of the Stone Chronicle, the relationship between the lipogram and the Stone Chronicle are clearly stated, and the implication and evidence 1 in it are the same. "Copy and re-evaluate" indicates that "copying" is written in the first place, and the annotation "re-evaluation" is in the back. According to the "final inheritance relationship" in the previous article, the "copy" should be the "Jinling Twelve Nobles", and the "re-evaluation" is to make annotations; "still use the stone to record": the annotated "Jinling Twelve Nobles" inscription "Fat Yan Zhai Reappraisal of the Stone Record".

Evidence 3: The seventeenth to eighteenth times of the Gengchen Ben have only one look back, and the nineteenth time there is no look back.

The seventeenth and eighteenth times of the "Gengchen Ben" are only one look back and one look back at the text under the "Grand View Garden Examination Question is Correct for the Yuanxiao of the RongGuoFu Return to the Province", which seems to be missing one time. Less this time is the text written together twice, but the look back is not separated? Or is there only one text, one less text? The answer is in the nineteenth. There is text under the nineteenth time but there is no look back, Cao Xueqin is hinting: the seventeenth and eighteenth times there is one less text. Carefully reading the text under the review, the storyline did not go beyond the scope of the review of the "Grand View Garden Examination Question on the Yuanyuan Of Honoring the Province of The Lantern Festival", thus leaving room for posterity to make up.

In chapters 16 and 17 of the Legend of Daiyu, the storyline that is missing from the seventeenth and eighteenth episodes of the Gengchen Ben is written. "Daguanyuan Test Questions" tells the story of Baoyu touring the Grand View Garden, but the house furnishings in the Grand View Garden are almost white, and they do not intentionally show the royal style. In the sixteenth chapter of "The Legend of Daiyu", "Bao Dai Chao You Bei Yuan", targeted supplements were made, especially in the Xiaoxiang Pavilion and the Bisha Cabinet in Yihong Courtyard. Corresponding to the "Rongguo Mansion Returns to the Province to Celebrate the Lantern Festival", in the seventeenth chapter of the "Legend of Daiyu", "Jia Yuanchun Provincial Relatives", the storyline of the emperor's night visit to the Grand View Garden and the encounter with Daiyu is supplemented.

Evidence 4: Daiyu.

"Two bends seem to be crouching non-caged eyebrows, and a pair of eyes that seem to be happy and not happy." The state of two sorrows, the illness of the body. Tears lit up, and the panting was slight. When idle, it is like a flower shining on the water, and the action is like a weak willow supporting the wind. The heart is more than dry, and the disease is like Xizi winning three points. ”

The above is Cao Xueqin's most classic description of Lin Daiyu in the book. According to this preset description, Lin Daiyu, as the heroine of the book, sets unparalleled beauty and wisdom in one, and it can be speculated that the story around him must be positive energy, earth-shattering and vigorous, but in the eighty times of "Gengchen Ben", the image of Dai Yu is summed up as a word "crying", and the storyline around Dai Yu is just some ordinary and unsurprising wine-eating chants, "sour and jealous", and the romanticism of talented women, which can not reflect the complete and true image of Dai Yu and the preset description, It was obvious that another pen was needed here to make Daiyu's image truly tall and plump.

In "The Legend of Daiyu", he wrote stories such as "Dai Yu Butler", "Dai Yu Jiangnan Yi Relief", "Dai Yu Zhi Breaking Ma Dao Po Wei Town Case", "Dai Yu Breaking Jin Ju Murder Case" and continuing to the continuation "Dai Yu's Death" and so on. Lin Daiyu in "The Legend of Daiyu": beautiful, kind, loyal, tenacious, wise, love and hate, jealousy and hatred, and fearless sacrifice spirit, this is the two halves and one, Cao Xueqin's truly perfect Lin Daiyu.

4. What does "Cao's secret legality" require posterity to write and continue?

The part of the text that was deleted and deleted in the "Gengchen Ben" is the content that was supplemented and continued by posterity.

(1) Supplement the text of "involved in foreign affairs".

The book "The Legend of Daiyu" was supplemented, such as Dai Yu returning to Jiangnan to visit her father, Jia Zheng's relief of grain and other texts.

(2) Supplement the text of "interference in the imperial court".

The book "The Legend of Daiyu" has been supplemented, such as the death of Qin Keqing, Baochao to be selected, and Dai Yu to be selected three times.

(3) Continue to write the storyline after eighty times.

Chapters 59, 60 and 61 in the book "The Legend of Daiyu" continue the ending of Daiyu and complete the main story line of Daiyu after eighty times.

5. How to ensure that the supplementary and continuation of posterity is in line with Cao Xueqin's original intention?

Cao Xueqin preset two main story lines in the whole book "Stone Record", one is the death of Qin Keqing, and the other is Dai Yu to be selected. The two main lines are not parallel lines, but are intertwined and inseparable, and develop together throughout the text. In the "Gengchen Ben", the two intersecting main lines are broken due to the deletion of the storyline, and are embedded in the eighty times in order, hidden between casual speech, parental shortness, poetry and song, which makes a large number of clues, clues, foreshadowings, and hints appear in each chapter, forming a carefully woven and well-structured logical relationship network. The clues, clues, foreshadowings, and hints in the logical relationship network are before and after, left and right, true and false, virtual and real, you have me and I have you, mutual confirmation and mutual restriction, testing and ensuring that the main line of the story in the supplement and continuation and The main line preset by Cao Xueqin are highly consistent and consistent; testing and ensuring that the storyline of the supplement, the continuation and the "Gengchen Ben" are 100% matched and matched, and the clues and clues that are broken due to the deletion of the text should be logically sorted out one by one to clarify the context and open up the joints Pre-set foreshadowings should be broken one by one without a trace; hints should be clearly answered one by one. Supplements and continuations must not leave or betray the logical support of the main text of the Gengchen Ben to form an independent article or find another way, otherwise it is a derivative literature and has nothing to do with the Gengchen Ben. "Implicit union" requires that the main text of the "Gengchen Ben" and the supplement and continuation be harmoniously, uniformly, and perfectly integrated, and the main line is consistent, the plot is consistent, and the brushwork is consistent, just like one person wrote, and there is no room for a little bit of gentle fabrication, rigidity, plausibility, plausibility, and far-fetchedness.

At the same time, "Cao's secret legality" requires that those who supplement and continue to write must have at least the following points:

(1) Standing at the height of Cao Xueqin's thoughts.

(2) Be innovative and not shackled by existing conventions.

(3) Proficiency in the use of Cao Xueqin's writing methods.

(4) Have a broad knowledge structure.

(5) Meticulous logical thinking ability.

How could the Creator recreate "one parsley and one fat", and the difficulty of "secret union" seemed to be an impossible task for future generations. Cao Xueqin also knows that "secret cooperation" is not easy, so she left a "key tip" in the book to guide future generations where to start when making up and continuing. This "key tip" is the lipid batch. The lipogram is not only a symbol of supplementary text and continuation, but also an introductory method that implies supplementary and continuation, as evidenced by the creation process of the book "The Legend of Daiyu".

After Yu completed the book "Chronological List", the original plan was to continue to work on the "Commentary" of the "Gengchen Ben". As the review book progressed, the number of words became more and more impressive, and at this time it was a sudden thought: why not compile the content of the review into a character story, and then present it in the form of a supplement? It is both easy for ordinary readers to accept and easy to circulate. Then put it into practice, not wanting to be able to pass through by chance, at this time Fang found that this was a strange writing method of Cao Xueqin - "Cao's secret legality". I had the honor to enter the door from the review, worked for ten years, and wrote a book called "The Legend of Daiyu".

4. The mystery of the deletion of all cases in the "Jia Shu Ben".

The article on the examples in the Jia Shu Ben was deleted by Cao Xueqin in the Gengchen Ben because of the fear that the articles would bring ambiguity to future generations.

(1) Although the text of the text is the text of the ink book, it reads very closely like a lipogram, which will bring to posterity the ambiguity that "celery, fat" is the same person. This ambiguity conflicts with the "secret legitimacy of the Cao clan" and naturally needs to be corrected in the final version of the Gengchen Ben.

(2) Although the two passages in the ordinary cases, "involved in foreign affairs" and "interference in the imperial court", are hinting that future generations should supplement and continue to write, they will also play a counterproductive effect, mistakenly causing future generations to fall into the dogmatic quagmire of "the author does not write, I cannot write", sealing the thinking of posterity, binding the hands and feet of posterity, and deviating from the original meaning of "Cao's secret legality", and naturally deleting it in the final version of the "Gengchen Ben".

In short, the book is written first, and the approval book is later. Cao Xueqin's deletion of ordinary examples in the final edition of the Gengchen Ben is a practical and necessary measure.

5. About the book "Dream of the Red Chamber - The Legend of Daiyu in the Marriage of Wood and Stone".

The book "The Legend of Daiyu" strives to stand at the height of Cao Xueqin's ideological creation, and at the same time draws on Cao Xueqin's writing methods, taking "Gengchen Ben" as the model, taking Lin Daiyu's life throughout the whole text, supplementing and continuing texts as artistic expressions, and striving to use easy-to-understand words to express, complete, three-dimensional, vivid storyline to correctly read "Dream of the Red Chamber".

The first chapter is the wedge, which is introduced into the "Dream of the Red Chamber" text in a traversal way.

Chapters 2 to 6 restore the real scene of Baoyu and Daiyu mentioned in the book by Cao Xueqin as "eating in one bed and sleeping in one bed".

Chapters 7 and 8 BaoChao Choose Concubines.

Chapters 9 through 14 deal with the yongjian dynasty and the Hongjian dynasty brought about by qin Keqing's death.

Chapters 15 to 31 Dai Yu's first choice of concubines.

Chapters 32 to 49, Dai Yu chooses a concubine for the second time.

Chapters 50 to 58 Dai Yu's third choice of concubines.

Chapters 59 to 61 The End of Daiyu.

The book "The Legend of Daiyu" is a master key that unlocks many questions in the study of "Dream of the Red Chamber". The magic of this key is that it can closely open and lock the eighty locks of the besieged city of "Dream of the Red Chamber", and go straight to the top of the mountain to see the mountains.