The following is a family statement.

A Dream of Red Mansions is a nationalist work.

Mr. Liu Ximeng pointed out in the book A Dream of Red Mansions and a Hundred Years of China: "Whether there is an anti-Manchu thought in A Dream of Red Mansions is an extremely important issue in redology. As a case study of A Dream of Red Mansions, researchers have always paid attention to it. The discussion of this issue will lead to a deeper study of the ideological tendency and nature of A Dream of Red Mansions. "

Mr. Liu Ximeng also quoted Zhi Yanzhai's comment on writing:

"Sun Ce takes the world as three points, and all talents are a brigade; Ji Xiang used Jiangdong children, only 8,000. So it is to split mountains and rivers and slaughter the world. There are millions of righteous teachers, and they have been smashed like grass trees. " "Alas, the mountains and the earth are falling apart. Since it is in peril, it is inevitable to be sad when you die. It is God's will to make the sad people sad!"

Mr. Liu Mengxi pointed out: "The approver quoted Yu Zishan's Preface to Sorrow for the South of the Yangtze River, saying that it would take 300 years for the river to be king, and he was deeply impressed. It should refer to the rise and fall of dynasties. If the measurement is correct, this comment on writing is likely to imply Wu Ming and Qing Xing.

I totally agree with Mr. Liu Ximeng. In fact, the nationalism in his works is very obvious. For example, the sixty-third time Baoyu said, "The voice of male slaves and the voice of Xiongnu are both dogs and soldiers. Moreover, these two kinds of people have been suffering from China since the beginning of Yao and Shun, and they suffered even more during the Jin and Tang Dynasties. " Combined with the historical background of the work, there can be no second explanation for this passage except nationalism.

The Sophists came into being precisely because they clearly saw the anti-Qing language in the novel. For example, Pan Chonggui in A Dream of Red Mansions? There are many examples of "Answering Questions" in A Dream of Red Mansions, which shows that there is indeed a tendency to oppose Qing Dynasty and think of Ming Dynasty in the novel. For example, the case of Baoshan Yin, a literary prison in August of the forty-third year of Qianlong, is because there is a saying, "If the surname is red, if things are red." The husband's red is not surnamed red, and the red is Zhu, which leads to "no punishment for crimes." The love of red is emphasized throughout A Dream of Red Mansions, such as mourning for Yuan He and Hong Xuanzhi. Another example is Xu Shukui's case, in which "the Ming Dynasty was shocked and went to Beijing in one fell swoop" and "the son of heaven met again and put the pot aside in half", but in the nineteenth episode of A Dream of Red Mansions, he deliberately did not say "a great scholar", but said that "there are no books outside Mingde" and deliberately said that "the tree fell apart". The textual research of Zhou's New Certificate of A Dream of Red Mansions shows that Many scholars have learned that there is a vague concept of mourning for the Ming Dynasty and opposing the Qing Dynasty in A Dream of Red Mansions.

However, just staying on the understanding of a few words does not mean that the theme of the work is nationalism, but only that the work reveals some nationalist ideas. Therefore, it is necessary to further explore the nationality of the works.

The early Qing Dynasty was a period of intensified ethnic contradictions. During this period, a number of nationalist works were born, such as Yue Shuo, Yang Jiajiang, Peach Blossom Fan and the Palace of Eternal Life. The birth of A Dream of Red Mansions is only a few decades away from the publication of these works. In the sixth year of Yongzheng (1728), the famous "Lv Liuliang case" also happened. Yongzheng specially promulgated the Record of Great Righteousness, refuting the different views of Chinese and foreigners. This shows that in the era when A Dream of Red Mansions was born, ethnic contradictions were still very sharp.

According to Zhipi, the familiar reading, addition and deletion of Stone began at 1744, that is, one hundred years after the Ming Dynasty. This is no coincidence. For the first time, there was a fat criticism: "Three points are the marquis of Wu, two points are the emperor of Wu Mu, and two points are the revenge of the sages." Where is the grass today? " Two Emperors of Wu Mu is the last work of Yue Fei's "Jing Kang Shame, Especially Not Snow". This comment on writing and the above criticism of "Sun Ce regards the world as three points" reflect that the pain of national subjugation has not been forgotten at that time, indicating that A Dream of Red Mansions has the same historical background as other nationalist works such as Yue Shuo, Yang Jiajiang and Peach Blossom Fan. So nationalism in A Dream of Red Mansions is entirely possible.

First, the relationship between anti-Neo-Confucianism and anti-Qing

The work has a strong anti-neo-Confucianism thought. The hero claimed that all books except four should be burned. Xue Baochai said that he also looked down on Zhu. Therefore, books other than the Four Books mainly refer to Zhu's works. Therefore, to understand the nationalism of works, we must understand the relationship between anti-Neo-Confucianism and anti-Qing.

Anti-Neo-Confucianism was a very sensitive political issue at that time. For example, Xie Jishi once went to college, and he was persecuted for slandering Zhu Cheng in Yongzheng for seven years. Yan Yuan criticized Zhu Cheng's Neo-Confucianism, claiming that he was "speaking at the risk of death". It can be seen that anti-Zhu Neo-Confucianism will be beheaded. However, in the early Qing Dynasty, there appeared a democratic ideological movement that criticized Neo-Confucianism and was called "bringing order out of chaos".

It is generally believed that the democratic thought in the early Qing Dynasty is a reflection of the budding of Chinese capitalism between the Ming and Qing Dynasties. This is not unreasonable, but why did it appear when ethnic contradictions intensified in the early Qing Dynasty, rather than during the Kanggan period when social productive forces resumed and capitalism further developed? Why is its representative a famous anti-Qing personage? Why did the democracy in the early Qing dynasty become a thing of the past as the anti-Qing struggle turned into a low tide? It can be seen that it is not enough to explain the democracy in the early Qing Dynasty only with the seeds of capitalism, but also from the intensification of ethnic contradictions.

In the early Qing Dynasty, the fierce attack of democratic thinkers on Zhu Cheng's Neo-Confucianism was driven by the movement of saving the nation from extinction.

On the one hand, Zhu Cheng's Neo-Confucianism stresses the nature of mind, which is a theory of "losing talents and defeating the world" and destroying the country and the world. Yan Yuan pointed out: "Those who failed by mistake were also learned by Song people" (under Xizhai Chronicle), and clearly regarded Zhu Cheng Neo-Confucianism as the chief culprit of national subjugation. It is "useless to the country, useless to the people, useless to the battlefield" (Yan Yuan's words), and "talking about everything, dying in a crisis". It is helpless at the critical moment of national peril and useless for saving the country and reviving.

In order to resist Venus, thinkers in the same era as Zhu criticized the style of study of Neo-Confucianism, which was "talking about life with their heads down", and their insensitivity to the national crisis. He pointed out that Zhu Cheng's neo-Confucianism's theory of stealing Buddha taught people to despise achievements, which was that China was invaded by foreign countries, "making China's career a barbarian and its survival a ruin, which was hopeless" (Xi Xue Volume 50). He put forward the slogan of "pragmatism", taking "utility" as the standard to measure everything, and thought that "keeping the ambition of time and eliminating chaos" was a hero. It can be seen that Yan Yuan's criticism of Zhu Cheng's empty talk about study style is consistent with Chen Liang's and has a strong purpose of saving the country.

Because Zhu Cheng's Neo-Confucianism is empty talk about making mistakes in the country, which is one of the reasons leading to the national peril. Therefore, patriotic thinkers in the early Qing Dynasty hated Zhu Cheng's Neo-Confucianism, and they must get rid of it as soon as possible. Huang Zongxi and Gu, the anti-Qing thinkers in the early Qing Dynasty, also advocated "saving the country by Ming Dow", calling on people to learn knowledge that is beneficial to saving the nation, abandon Neo-Confucianism and save the nation.

On the other hand, the rulers of the Qing Dynasty regarded Zhu Cheng's Neo-Confucianism as orthodox, and imprisoned the people's rebellious will with feudal ideas such as "taking the monarch as a minister", and Zhu Cheng's Neo-Confucianism became an ideological tool to safeguard the rule of the Qing Dynasty. Therefore, anti-Qing thinkers in the early Qing Dynasty violently criticized Zhu Cheng's Neo-Confucianism, which provided ideological weapons for anti-Qing.

For example, Huang Zongxi's Yuan Jun exposed the robber nature of the emperor and came to the conclusion that "the monarch is only enough for the world". He lashed out at the thought of "the program of monarch and minister", criticized the "little Confucianism" of "the righteousness of monarch and minister, and the rules and regulations can't escape between heaven and earth", praised the spirit of the king of Wu, aiming at propagating the rational thought of resistance and calling on the people to rise up and resist.

For another example, Tang Zhen pointed out in "Room Language" that the emperor was really a thief who "killed people all over the world and did everything he could", thus drawing the conclusion that "emperors are thieves". The article recounts the atrocities of feudal rulers in past dynasties, pointing directly at the Manchu aristocrats who caused the "Jiading Massacre" and the "Yangzhou Tenth Day" tragedy, and expressing the rebellious thought of "I can't bear to be chaotic". Therefore, the anti-Qing thought in Shi Yu by Tang Zhen is completely consistent with Yuan Jun by Huang Zongxi.

By understanding the relationship between anti-Neo-Confucianism and anti-Qing, we can understand the significance of the strong anti-Neo-Confucianism tendency in the works. We can clearly see that the anti-Neo-Confucianism in A Dream of Red Mansions is in the same strain as Huang Zongxi, Gu and Wang Fuzhi in the early Qing Dynasty.

(1) Criticism of monarchical power. Through the mouth of the works, the feudal emperors such as Emperor Tang Ming are regarded as actors liked by ordinary people, which is consistent with the views of Huang Zongxi and Gu, that is, the emperor is only the highest-ranking bureaucrat rather than the supreme "son of heaven". The argument that "a winner is a thief and a loser is a thief" in the works is also consistent with Tang Zhen's thought that "emperors are thieves". Going back, the proposition that "success is a vassal, defeat is a thief" was once used by Deng Mu, a patriotic thinker of the Yuan Dynasty, to oppose the rulers of the Yuan Dynasty. The word "Fang Qun's marrow" in the book was born out of Huang Zongxi's belief that the emperor "knocked off the marrow of the world". All these reflect the internal relationship between the works and the anti-Qing trend of thought in the early Qing Dynasty.

(2) Criticize Zhu Cheng's empty talk about Neo-Confucianism. Jia Baoyu's thought of "remonstrating death and fighting to the death with force" is a "rough plan" of the minister of civil and military affairs, which mistakes the country and himself; The remark that "it's better not to die" is a criticism of Neo-Confucianism, and it's empty talk about making mistakes in the country, which is completely consistent with Huang Zongxi's and Gu's thought of saving the country.

It can be seen that the anti-Neo-Confucianism and anti-Qing thoughts in the works are consistent and reflect nationalism.

Second, Jia Baoyu's position of not being an official.

To understand the theme of the work, we must understand the personality characteristics of the protagonist.

Patriotic thinkers in the early Qing dynasty regarded official morality as a manifestation of no national integrity. For example, Gu dismissed the official as a "fox mouse". Jia Baoyu called those who are keen on fame "Lu Wei" and "national thieves and ghosts", just like Gu's "fox mouse". Therefore, Jia Baoyu portrayed by the author is a nationalist who insists on not being an official.

First of all, he called those who were keen on fame "Luffy" and "traitor Gui Lu", indicating that he refused to take the road of official career economy because of his ideological foundation, not because of his personality.

Secondly, we can infer that he is a young aristocrat of Han nationality and a nationalist from his description of northern minorities such as Xiongnu as the scourge of China. Therefore, he refused to take the road of official career economy, which is an ungrateful position, not just like Tao Qian, but his dissatisfaction with political reality.

Third, it conforms to his other personality characteristics and the author's suggestions. As mentioned above, there are many hidden names and places in the works. As protagonists, the names and font sizes of Jia Baoyu and Lin Daiyu cannot be hidden. We can see that their names and residences in previous lives were all related to red and stones, such as Gongzi Hongyi, Gongzi Hongxian, Gongzi Jiangdong, Gongzi Hongyiyuan and Zhu Jiang Fairy. The nationalism of red mapping was well known at that time, and it was necessary to kill the head. For example, in the case of Baoshan Yin in August of the 43rd year of Qianlong mentioned earlier, there was a saying that "if the surname is red, things are red". The husband's red is not surnamed red, and the red is Zhu, which leads to "no punishment for crimes." Another example is Shen Deqian's poem "Ode to the Black Peony", which says, "If you take Zhu Fei seriously, the alien is king", you will be cut open and slaughtered, and so on. It can be seen that red is forbidden. Jade (stone) represents the integrity of "it is better to be a broken jade than a full tile". Lin Daiyu said in the book, "The strongest is jade". So red and stone represent unyielding national spirit.

The last forty chapters of the work have always been regarded as sequels, and their ideological and artistic qualities have always been criticized, even completely denying the connection with the first eighty chapters. In fact, the nationalism in the last forty chapters is the same as that in the first eighty chapters, which is very important for understanding the protagonist's ideological character.

For example, the author wrote: After listening to Jia Baoyu's story, the "Holy Lord" said: "Since he dare not accept the title of the Holy Dynasty, he will be awarded the title of" a man with excellent character. " This passage has two meanings. First, Jia Baoyu became a monk not because of "realizing the fate of the fairy", but because he didn't want to be an official; Second, Jia Baoyu doesn't want to be an official. He didn't want to be an official in the Qing dynasty, just didn't want to be an official. The sacred dynasty is the Qing dynasty, and "dare not accept the title of the sacred dynasty" is not subject to the title of the Qing dynasty. Therefore, this passage implies that Jia Baoyu did not become an official because of his nationalist stance of being an official.

Song from the Dust symbolizes Jia Baoyu's ambition after he left home. As mentioned earlier, "Great Wilderness" is the birthplace of Manchu nobles. So "returning to the wild" has a profound meaning. It means: although it is a long way to drive the Manchu nobles back to their hometown "barren hills", I am determined to win and never give up. Therefore, Song of the Dust expresses the same ambition and determination to save the country and the people as Gu's poem Jingwei.

It is also symbolic to describe Jia Baoyu as a monk. When Baoyu bid farewell to Jia Zheng, he wore an orangutan felt cloak, which showed that he did not forget his motherland's ambition.

Therefore, we can't arbitrarily dismiss the last 40 replies as false continuations and ignore them. Mr. Yu Pingbo not only lamented in 1985 that "I think A Dream of Red Mansions has always been taken in by Hu Shizhi", but also left his last words "Hu Shi and Yu Pingbo were guilty of beheading a Dream of Red Mansions" and "it's hard to say what they did". It can be seen that the last forty chapters are worth further discussion.

Because Jia Baoyu insisted on nationalism and refused to study in the name of fame, this formed a sharp conflict with feudal families. In order to guide and force Jia Baoyu to take the road of official career economy, feudal parents persecuted Qingwen, Si Qi, Lin Daiyu and other people who were considered to influence Jia Baoyu to take the road of official career economy, and chose Xue Baochai who often advised Jia Baoyu to take the road of official career economy. Therefore, the conflict between Jia Baoyu and the feudal family on the road of official career economy is the main line and tragic conflict of the story, and the essence of this conflict is the conflict of national position. Therefore, the theme of the work is democracy.

Third, the significance of mending the sky

Zhifu said that "there is no material to fill the sky" is "the essence of books" Therefore, it is very important to understand the meaning of "mending the sky"

The poem "Mocking Hard Stones" in the book says: "Nu Wa's tempering of stones has become absurd and ridiculous." It means: After the story of Nu Wa refining stones to fill the sky, the stubborn stone once again entered the absurd world to interpret the story of "Great Wilderness". The story of "mending the sky" happened before the story of "The Wild". Shan Hai Jing Huang Da Bei Jing says: "In the desert, there are mountains whose names are not salty, and there is a country where gods live". Without the salty mountain, there would be Changbai Mountain today, and the Su Shen family is the ancestor of Manchu people. So "playing wild" refers to the interpretation of the story of the Qing Dynasty. The story of "Goddess mending the sky" experienced by the stubborn stone before "playing wild" should have happened in the Ming and Qing Dynasties.

Patriotic thinkers in the early Qing Dynasty regarded the demise of the Ming Dynasty as "the sky would fall and the earth would crack". For example, Huang Zongxi pointed out: Ming people give lectures, "talk with books", "the sky is falling, it has nothing to do with me", and they don't care about national affairs and national peril.

In the fat review of "Landslides and Earthquakes, Not Only Dangers", the demise of the Ming Dynasty is also referred to as "the sky collapses and the earth cracks".

In Lu Xue Guang Jing Lian, "Ao Chou Kun's axis is trapped" is the same as "landslide" and "the sky is falling". "Kun Axis Trapped" and "Goddess of Mending Heaven" come from the same story.

Therefore, we have every reason to believe that the author compared the demise of the Ming Dynasty to "the sky would fall and the earth would crack", and "mending the sky" refers to saving the nation from extinction. The shame of "mending the sky without materials" is the shame of national subjugation, that is, criticizing the hatred of the so-called "Wu Mu Er Di".

Fourth, the significance of Jia's downfall.

It is generally believed that the corruption and ruin of Jiafu reflect the historical trend of the inevitable demise of feudal society. If so, it doesn't matter what nationality the Jia family is. However, the work not only implies that it is a noble family of Han nationality, but also may be the original Ming royal family who surrendered to the Qing Dynasty after the demise of the Ming Dynasty.

In the "official protection symbol", the true face of Jia Fu is hidden.

"Jia Wei is true, white jade is the golden horse of the hall" is a hint that Jia Fu is the real palace. "Jia is not fake" means that "Jia" is not fake, but true. Han Yuefu's "Hui Xing" said: "Gold is the door, and white jade is the hall." Golden Horse is Golden Horse, which is the name of the Han Palace. It is said here that Jiafu takes Golden Horse as the door and White Jade as the hall, implying that Jiafu is a real palace.

Therefore, Jia Fu may be the original Ming royal family who surrendered to the Qing Dynasty after the demise of the Ming Dynasty, and the author (stubborn stone) is a descendant of the Ming royal family. Lin Daiyu's nickname "Princess Xiaoxiang" implies that she is a "princess" because Jia Baoyu was also a "prince" of the Ming Dynasty. Those who call themselves "perverts" may be descendants of the nobles of the Ming Dynasty. Because "water" was no longer used in Qing Dynasty. "Abnormal" refers to sporadic and surplus, and "abnormal" refers to a person who cherishes the water board left by his ancestors and does not forget his motherland.

It can be seen that the description of Jia's ruin is not to reflect the trend of corruption and extinction in feudal society, but to express the pain of national subjugation. The author calls people who go to Jiafu to raid their homes "robbers in boots and hats", which also reflects the author's negative attitude towards ethnic oppression.

At that time, countless people were robbed for violating the literary inquisition, such as the Justine case. There is a plot of Jia Zheng's topic "Only a scholar can be competent" in the book, which is obviously a reference to the Justine case. Because "Wei Shi" and "Zhi" can be understood as "(Zheng) decapitation" in the case of Justine. "My sister died too early, otherwise how could I be a basket case?" In other words, Yuan Chun is Jia Fu's umbrella. After Yuan Chun's death, the Jia family lost their dependence and even fell into disrepair. Therefore, the downfall of the Jia family is the result of the struggle for rights within the ruling class, which has nothing to do with the demise trend of feudal society. Because the author implies that Jiafu is a noble family of Han nationality, its ruin probably reflects national oppression. It may be because Jia's defeat was too sensitive, so he didn't come down.

The meaning of the verb (abbreviation of verb) "eschatology"

It is generally believed that the author called the society at that time "the end of the world" because he had a premonition that the feudal society was about to die. "eschatology" refers to the end of feudal society. This view is debatable.

In the era of the birth of the works, although a capitalist society has been born in the world, this issue has not been put on the agenda in China, and there can be no confrontation between feudalism and capitalist thought. Gong Zizhen, who was nearly a hundred years later than the birth of A Dream of Red Mansions, was only a reformer of the landlord class, not a bourgeois revolutionary. He believed that the society at that time had entered a "declining world" and would perish without reform. However, his reform is to return to the three generations, retro. And his thoughts have always influenced the Guangxu period of the Qing Dynasty. Liang Qichao once said: "The ideological emancipation in the late Qing Dynasty was self-conceited, true and meritorious; During Guangxu period, the so-called neo-Confucians led us through a period of worshipping Gong. I was shocked when I first saw Ding An Ji. ".It can be seen that before Yan Fu, Kang Youwei and Liang Qichao, bourgeois democratic thoughts had not spread in China. Therefore, it is considered that the word "eschatology" is the author's statement that feudal society is about to perish, which lacks scientific basis.

So what do the words "eschatology" and "mending the sky" express? To understand this problem, we must contact the background of the time and the author's description.

In the history of our country, "prosperous time" refers to the period of prosperity and stability, and "last time" refers to the period of turmoil and people's hardship, and it is the period when regime change is about to happen. In order to paralyze the people's rebellious will, feudal rulers always whitewashed peace and called their own ruling period "prosperous times." The so-called "prosperous time" in Qing Dynasty is a kind of political propaganda. On the contrary, in order to achieve the goal of anti-Qing, people who hold nationalist positions call the society at that time "the end of the world." As Confucius said, the purpose of his creation of Peach Blossom Fan is to "punish and create people's hearts and save one of the last days". Tang Zhen also said: "The last literati was impure". Mao, a adherent of the Ming Dynasty, also said in "The Book with Hongsheng": "The last days are dangerous and thin." The time and background of the birth of A Dream of Red Mansions are similar to those of its activities. Therefore, we have reason to think that the meaning of the word "eschatology" in A Dream of Red Mansions is the same as their meaning, and it is a criticism and denial of the Qing Dynasty and the so-called "prosperous period of Kanggan".

To sum up, A Dream of Red Mansions is a nationalist work. Of course, the nationalism of the work is not limited to these, but it is enough to make us believe that this is a nationalist work. Along this direction, all the secrets of A Dream of Red Mansions will be solved, and Mr. Liu Ximeng's prediction that "the research on the ideological tendency and nature of A Dream of Red Mansions will be deepened" will be realized.

For a long time, people believed Hu Shi's viewpoint and thought Cao Xueqin was the author, thus denying the anti-Qing thought of his works. As a result, Dream of Red Mansions was brought into a quagmire that disappeared for a hundred years. 1May, 985, Mr. Yu Pingbo said with deep feelings in the article On Learning and Writing: I think A Dream of Red Mansions has always been taken in by Hu Shizhi. Hu Shizhi is a textual research madman ... Now the direction of redology comes from "scientific textual research"; "Scientific textual research" is often a tedious textual research. Why does A Dream of Red Mansions need such textual research? What did you find?

This passage of Mr. Yu Pingbo is the conclusion of his lifelong research and his awakening. What reason do we have to repeat the mistakes of our predecessors and move in the wrong direction?

In the final analysis, Cao Xueqin's authorship is just speculation, which cannot be used as a reason to deny the nationalism of his works. In the same way, the latter forty chapters are forgeries and only guesses, which cannot be a reason to deny the nationalism of the latter forty chapters.

To get out of the current predicament, Redology must have a scientific method, that is, to analyze the works, instead of continuing to make rambling researches and groundless and contradictory textual research. Or Mr. Yu Pingbo said: Now the direction of redology comes from "scientific research"; "Scientific textual research" is often a tedious textual research. Why does A Dream of Red Mansions need such textual research? What did you find?

Mr. Liu Mengxi predicted: "If the textual research on Cao Xueqin and A Dream of Red Mansions cannot be carried out due to the limitation of objective materials, at least a considerable number of researchers may be unwilling to set foot in the field of redology, and redology itself will not flourish as it did when the textual research school prevailed."

It's time for redology to embark on the road of scientific research.