That strange stone of extraordinary origin makes readers unforgettable. Although there are not many words directly described, in the process of reading, readers will feel that it is everywhere and has been affecting the plot direction of the book. In the first time of this book, it explains its origin. Its origin is unusual. It can be said that it comes from ancient times. It turned out to be the colored stone left by the goddess of mending heaven, and later it came true. It is "spiritual practice has passed, but it can be big or small", and there are several changes. One is a huge stone book that can record one's life experience of reincarnation on earth, one is a talking stone, one is a psychic Baoyu, and the other is an immortal waiter [1] (P 1 ~ 4). Generally speaking, it can be divided into two categories, only according to the two names of Taoist priests who copied the words on the stone. "Empty" is from empty to empty, that is, the stone is "clean and neat". After some tempering, it is classified as a boulder, but the difference is only one more paragraph; "Feeling monk" refers to the earthly life full of worldly desires and joys and sorrows after Lingshi was born, but he still wants to be "Wukong" in the end. Second-rate integration, return to the original. The whole first time was about hard rocks. After seeing the words on the stone and copying them down, the Taoist in the air said, "Look at the color from the air, feel from the color, express the feelings into the color, and color yourself" [1](P3). The word 16 actually summarizes the basic trend of the whole plot. The overall structure of the work embodies the Buddhist concept of color emptiness, which was given to the work by the author when he conceived it as a whole. On this point, Zhi Yanzhai can see clearly. In the first dialogue of JOE's Hard Rock and Monk Road, he criticized that "four sentences are a general program" (P8 1), which is deeply literary. Lingshi actually appears in two forms in realistic narration, one is its own form, namely psychic Baoyu, and the other is the physical form, namely Jia Baoyu, the son of Fu. When Jia Baoyu was born, he came with a psychic Baoyu in his mouth. It can be seen that they are regarded as one, which makes them have a lifelong bond. But after careful study, it is found that the problem is not so simple, because the two are not unified, but often show a state of separation or even opposition. Different from other people in Jiafu, everyone from Taizu Jia to Ba Keming, the servant girl who attacked people, regarded psychic Baoyu as the lifeblood of Baoyu, but Baoyu himself took an attitude far from "don't forget to lose" and even showed deep hostility, even at the expense of "pulling out miscellaneous things and destroying them". In the final analysis, the difference between the two is like the name of a Taoist who witnessed everything. The former came to the end of human life with a deep understanding, quietly, without changing his original intention, and firmly went to the end; While the latter is deeply in love, it is difficult to extricate themselves. As the basic clue of the work, The Story of the Stone. Of the two, Lingshi and Baoyu, the former is the number one role in keeping his word.
The work adopts the "pseudo" first-person narrative mode, that is, the whole work is dictated by Lingshi. The life of Jia Baoyu, the protagonist at the front desk in the work, is only a short moment in the long life of Ling Shi who has experienced numerous robberies since the Goddess of Heaven. Lingshi is high above, calm and almost cruel, telling his "personal experience". Just like its first self-report, it only describes [1](P3) "ups and downs, joys and sorrows, ups and downs, there are traces to follow, and we dare not make a little empty chisel until it is distorted". On the level of real life, Lingshi looks lifeless, just an ornament hanging around Baoyu's neck. But sometimes it stubbornly shows its existence, telling people that it is the owner of the work, and Baoyu can only be regarded as a supporting role in front of it. After Qin Keqing's funeral, Baoyu, Qin Zhong and Xi Feng all stayed in Shantou Temple. In the evening, Xifeng lost her psychic Baoyu because she was afraid of others. Baoyu was stuffed on the pillow when he slept. "I don't know how Baoyu and Qin Zhong settled accounts, but I didn't see the truth. This is a mystery, and I dare not create it. " [1] (p145) This passage is obviously from the mouth of Lingshi, and the story follows him.
Although Lingshi is responsible for the overall trend of the plot of "emptiness-emotion-color-emptiness", after all, it was only a piece in Baoyu's mouth when it was born, and later became a pendant around its neck. Being in a passive situation and immersed in "love the sky and hate the sea" for a long time, it is inevitable to lose your way, lose your nature and mislead the plot characters. Therefore, two strange characters, the monk and the lame road, were specially set up in the works to serve their guards. These two characters, with magical power and infinite power, can freely shuttle between emptiness and existence. For Lingshi, their role is similar to that of father or mentor. In the first place, it was because of their compassion and permission to beg that Lingshi was able to come down to earth. And once Lingshi neglects his duty, they will intervene in time. Out of vicious jealousy and revenge, Aunt Zhao colluded with Ma Daopo and almost killed Feng and Baoyu with spells. Just then, the monk limped up and said to Jia Zheng, "That Baoyu is spiritual, but he is obsessed with sound, color and taste, which is useless." Holding the psychic Baoyu in his hand, he chanted "This thing has already worked" for a while, and the difficulties of Xifeng and Baoyu were solved [1] (P253 ~ 257). Buddhism believes that the retribution of all beings depends entirely on the good and evil of their actions. Aunt Zhao's behavior is obviously an evil force. From the outside, it will change the direction of Lingshi from emotional color to color Wukong, which cannot but be corrected.
But the mission of these two characters is not just to protect Lingshi. As they themselves said at the first time: "Why not take off a few in the next world? Isn't it a merit?" [1] (P4) Therefore, apart from being related to lingshi, they appear in their works, and sometimes they are enlightened by boundless love, who see through the world of mortals and escape into an empty net, such as Zhen, [1] (p9 ~10; p739)； Some punish people who are stubborn and show excessive desires, such as using romantic suggestions to deal with Jia Rui who has a unrequited love with Feng [1] (P119 ~120). Among them, Zhen is the highlight. This pair of monks not only explained the origin of Baoyu and Daiyu through dreams, but also appeared in person, using the proverb "spoil yourself and laugh at yourself for being stupid." After the Lantern Festival, it is time for the smoke to go out, implying the loss of a woman and the fate of Xiangling. But more important is the lame Taoist's "Good Song" and Zhen's annotation. No researcher of A Dream of Red Mansions can ignore the extreme importance of these two ballads in his works. It contains two main ideas of Buddhism, namely, the impermanence of all behaviors and the emptiness of all things. Impermanence means that everything in the past, present and future generations is in the process of birth, aging, illness and death, constantly changing and forever changing. This is what the fourteenth Nirvana Sutra says: "The impermanence of all actions is the law of birth and death." Buddhism claims that everything in the world and the human body are made up of earth, water, fire and wind, which are illusory. If we can understand that these four essences are also empty and false, and they will eventually return to emptiness instead of' constancy', then we can understand the truth that everything has no substance. It is also generally described by the world as a person who sees through fame and fortune and the world, which is the so-called "nothing" [1]. "Good Song" lists some phenomena of human feelings changing in the cold world, while Zhen's annotation further insight into the ups and downs of all things, or it is too late, and it is a passing sight, and sees through the absurdity of "a foreign land is my hometown". The hometown he said is, of course, the realm of emptiness and joy in Buddhism. No wonder the lame Taoist thought he could "solve the problem". And Zhen Yinshi really escaped into the door of religion. This is undoubtedly the basic idea that runs through A Dream of Red Mansions. In the whole work, the monk's lame road, which appears many times, actually plays a role in emphasizing this theme, so that the direction of the work will not leave the empty door set by the author. As the monk said to the psychic Baoyu, "You must wake up from your dreams and pay back your debts." In this regard, Zhi Yanzhai saw clearly and criticized: "In the general manager's office, under the guise of two monks, he pointed out that a considerable number of people in Genkai were infatuated." [2](P 1 19) This is also in line with the first time that "dreams and illusions are often used in the middle of the article, but this is the purpose of this book" [1](P 1). Both monks and Taoists have the same mission, that is, to enter an empty door, whether it is to protect the stone or to destroy the world.
For the upper-class women mentioned in official books and songs, this foreshadowing-caring relationship presents multiple and complicated forms. These twelve people are Lin Daiyu, Xue Baochai, Jia Yuanchun, Jia Tanchun, Shi Xiangyun, Miao Yu, Jia Yingchun, Jia Xichun, Wang Xifeng, Qiaojie and Li Wanhe. Their fate has something to do with these predictions. The prediction of their fate is not limited to the judgments and songs of the fifth cycle. Their care is not only the ending of the last role, but also endless suspense, constant care and rotation. For the first time, Yin Shi saw a monk talking about it in his dream. The crimson pearl fairy grass was watered with nectar by the waiter of Shen Ying in Chixia Palace, eating and drinking the secret fruit and water. "Even five years has a lingering meaning", it is necessary to repay the debt with tears [1](P4), which vaguely doomed a lingering ending in the work. When Lin Daiyu first landed in Jiafu, she shed tears because Baoyu fell on the jade, which was the beginning of tears [1](P33). Then, Xue Baochai appeared: "Born with bright bones and elegant manners ... ten times taller than my brother." [1](P40) They came to Jiafu successively, which should be related to the protagonist Jia Baoyu. The fifth verdict and melody hinted at the relationship between three people for the first time. The verdict is: "It is a pity to stop the machine, but it is a pity to praise talents. The jade belt hangs in the forest and is buried in the snow. " This is an omen of Lin and Xue's future fate, that is, neither of them has achieved real happiness between people. There are two tunes. "lifelong mistake": "all roads are golden, and I only read the alliance of wood and stone. Facing the crystal snow on the mountain, I will never forget the lonely forest in Shu Xian. Sigh that there is a fly in the ointment in the world Even the case of Qi Mei is difficult to level. " "Virtual Eyebrows": "One is a fairy flower in Yuen Long, and the other is flawless jade. If there is no strange fate, I will meet him again in this life; If you say there is a strange fate, how can you be worried? One is a false alarm, and the other is an alarmist. One is the moon in the water, and the other is the flower in the mirror. I want to know how many tears there are in my eyes and how to stop autumn from flowing to winter and spring from flowing to summer. " This concretizes the general suggestions in the judgment. "A Life's Mistake" is obviously a subjective tendency to talk about the fate with Baochai and the former alliance with Daiyu from Baoyu's point of view, suggesting Baoyu's love for Daiyu, the tragedy of this love and the superficial beauty and inner loss of Baoyu's marriage with Baochai. On the other hand, Woningmei, standing on the sidelines, predicted the results of two relationships, all of which ended in nothing, and clearly expressed sympathy for the former alliance between Mu and Shi. "Lonely Forest of Fairy in the Outside World" and "Fairy Flower in Yuen Long" took care of the first crimson pearl fairy grass. In this way, the overall trend of the emotional entanglements of Bao, Dai and Chai and the tragic fate of Chai and Dai is stipulated. Later, mysterious gold ornaments appeared many times. Baochai's "Never give up, stay young forever" on the golden lock is obviously a pair of "Never forget your loss, never forget your immortal life, Heng Chang" on the psychic Baoyu, and it was given by a monk with beautiful eyes [1](P82), and it also reminds you that "you can get married only if you have jade in the future" [65438] is a past life. The latter is obviously more irresistible. While visiting the Qingxuguan Pass, Baoyu got a golden unicorn, and Shi Xiangyun also had a similar golden unicorn [1] (P300 ~ 30 1), suggesting that there would be an emotional entanglement between Baoyu and Xiangyun.
The foreshadowing and care of this prophecy are more reflected in the poems of women in the Grand View Garden. The bottom line of the 22nd episode is "Jia Zheng talks sadly about riddles" [1](P2 15). Baoyu and his brothers and sisters solve riddles on the lanterns and Yuan Chun set off firecrackers. On the riddle, there is "A shock scares an angel, and when he turns around, he turns to ashes" [1](P223), which implies the end of his sudden death when the limelight is strong. In the sentence "No merit is seldom rewarded" and "Yin and harmony are not counted" [1](P223), Yingchun also predicted that she would eventually die because she married a husband like Zhongshan Wolf. Tanchun kite-flying quatrains: "When children are on their backs, Qingming makeup is the most suitable. The hairspring is weak, so don't blame the east wind. " [1] (p224) echoes the last two sentences in the judgment of the fifth cycle, "On the riverside of Wangjiang in Qingming, a thousand miles away from the east wind dreams", suggesting once again that she will leave home in Qingming and embark on the road of no return. There are two lines in Daiyu's poem "The more you play, the more fragrant you get": "There is no chance for two people at the piano" and "My heart explodes day after day" [1](P224), which also implies her tired but never-ending love. There is a sentence in Baochai's "The Poem of Lady Beating Bamboo" that "the leaves of the plane are gone, and the loving couple will not be in winter" [1](P224), which is a portrayal of her lightning-fast and fleeting love. When they were doing these riddles, they were only children of twelve or thirteen years old, naive and far from knowing the dangers of future life. It is no wonder that Jia Zheng suddenly felt that "none of them seem to live a happy life", and "he felt bored and had a great sense of sadness" [1](P224). As the heroine, Lin Daiyu uses prophecy the most in her poems, and this overlapping foreshadowing-caring relationship is also fully displayed. In the first eighty chapters, she wrote four important poems. In these poems, the hint of death is a constant theme, which deepens, clarifies and repeats again and again, leading her to the tragic end. "Funeral Poems" said, "The essence is purity, and pollution should not be allowed to sink the ditch". This is reading flowers and expressing our intention to bury flowers, but doesn't it also indicate that we will return to the unknown as daughters? And "According to the person who buried the flowers today, who did he know when he buried them?" From flowers and people, from the death of flowers to their own death, they express a tragic mentality of being unappreciated and extremely lonely. "If you don't lament for me, I don't know if the flowers will fall and people will die." [1] (p277 ~ 278) In short, it expresses more uncertainty about the dangerous future. At the beginning of the Grand View Garden, the beauty of the poetry club sang Haitang, and Daiyu's poems sang herself by borrowing things. "The fairy in the moon cave sews clothes, and the forever woman in my heart wipes crow marks in autumn. Who is shy and silent? I'm tired of leaning against the west wind. I've fainted at night? [1] (P383), except that the first sentence implies my own life experience, the other three sentences are descriptions of my real situation and psychological state. The significance of prophecy is not strong. Later, in three poems about chrysanthemums, "Self-pity is full of paper, who will complain about Qiu Xin", "Lonely and proud, who will hide, who will bloom late" and "Who will complain about you when you wake up, the grass will wither and smoke will be infinite" (P398 ~ 399) are all just lamenting the misfortune of your life experience. The forty-fifth chapter of Rainy Autumn Window laments the bleak autumn colors, but the last two sentences, "I don't know when the rain will stop, but teach the window screen to be wet with tears" [1](P477), vaguely reveal a sense of foreboding about the future.
On Baoyu's birthday, the lottery of Zhongmei was a great event. The color, signature and signature that everyone chooses are related to everyone's character and destiny. Such as Baochai's peony, the red apricot in spring, Yaochi and the red apricot planted on the cloud, Li Wan's old plum, first frost Zi and Caotang Voluntary, the peach blossom that attacks people, and Wuling Biejing, Daiyu silently thought, "I don't want to. When he reached for it, he saw a hibiscus flower painted on it, and the words "wind blows sadness" were engraved on it. On that side, an old poem said, "Don't complain about the east wind." ..... Everyone laughed and said, "Great. No one but him deserves to be a hibiscus. " [ 1](P695~697)
Daiyu regards this as a major event related to the future. The result of the lottery was recognized by Daiyu and everyone. In the eyes of all people, the graceful posture of Lotus and Daiyu and Daiyu's tearful eyes shown in "The Wind is Trembling" are undoubtedly just right. Daiyu's identity is also in line with the self-noble character symbolized by the lotus's emergence from mud without dyeing, and "falling into the ditch without teaching pollution" when burying flowers. The people present did not realize the symbolic significance of "not complaining about the east wind" "East wind" refers to the power that binds Baoyu and Baochai together in fate. Section 70 [Linjiang Xian] There are the following sentences in Baochai's poem "Catkin": "The east wind rolls evenly" and "The good wind sends me to Qingyun with its strength" [1](P782). The wind can send Baochai to Qingyun, and she can't resist. Then, the crimson beads in Mushi Qianmeng can only accept their fate and sigh. Its ending has emerged between the lines.
This idea has been strengthened in Daiyu's quatrains in Wu Mei Yin. If we say that Fei Ming's "beauty comes out of the Han Palace, beauty is thin, and the ancient and the modern are the same", we are feeling our unfortunate situation. Then, in the Green Pearl, "All karma is stubborn, and the previous work leads to comfort and loneliness" [1](P7 1 1) is hazy. In the Peach Blossom Garden written by Daiyu, the last two sentences, "Du Yuchun is exhausted, and the solitary curtain is empty" [1](P778), are obviously symbols of her own withering when the spring scenery is gone. At the same time, Tang Duoling, who sang catkins, turned this prediction about the ending into "Marry Dong Fengchun, go by himself, and endure staying for a long time" [1](P782), which indicated that he was destined to leave the days of hatred in the cold, full of care and loneliness. In the poems of Obi Ting and Xiang Yun in Mid-Autumn Festival, "People rush to the cold to invite cows and girls" (P857) is an empty suspense after death, and "Leng Yue buries the soul of poetry" is indeed a cold omen of his secular ending. Even Xiangyun said: "Poetry is solid and novel, but it is too depressing. You are ill now, so you shouldn't say such sad and strange things. " [1](P858) This has actually sounded the death knell of Daiyu. These poems by Daiyu are like a symphony of fate. In the repeated strengthening of the theme melody over and over again, readers seem to hear the footsteps of the god of doom, quietly approaching in the countdown-like silence, and Daiyu's disaster has come.
And this foreshadowing-caring structure not only determines the fate of young girls and young women, but also determines the fate of Jia Fu, a century-old family. Jia Fu in the book, like being possessed by a demon, was shrouded in "the fog of sadness, shrouded in Hualin" from beginning to end, and was hopelessly depressed. This omen is sometimes a clear warning. Baoyu dreamed of a dreamland, and the police fairy said to the fairies, "It is advisable to pass by Ningfu and meet the spirit and tell him,' It has been a hundred years since the country was established. It's the fate of the cloud, which is irreversible ...' [1] (P51) points out a point of no return for Jia Fu, who is famous for his prestige. Qin Keqing's dream of Xi before his death pointed out the inevitability of this ending. She exhorted, "Our family has been prosperous for a hundred years. If one day there are mixed feelings, if we should accept the saying that' the tree falls apart' ..." [1] (p122) This is still a general assumption, but she was afraid that Feng would not understand and suggested it to Zu. Don't forget the proverb "the feast will always end" [1] (P 123) is not only a repetition of Rong Ning's spiritual prediction, but also more important.
More often, it is to give a notice through some trivial things that contain inevitability. It has been noticed by predecessors that the acting in A Dream of Red Mansions is the "big festival and key" of Jia people and events, which has important omen. Yuan Fei's mother-in-law, "booked four plays, the first is a grand banquet, the second is a coup, the third is a fairy tale, and the fourth is from the soul." [1] (p180) Ji Maoben criticized that "a pinch of snow, the defeat of the Fu family" obviously refers to Jia She's arrogance in grabbing stones and Jia Lian's extrajudicial rape, who caused property losses; "In the palace of eternal life, Fu died"; "In Handan Ji, Fu Zhenbao sent jade"; In the peony pavilion, Fu Daiyu died. "Drama involves four things, which is the major section and focus of the book" [5](P299). In the 29th time, on the orders of Princess Yuan, he led the people to Qingxu Pass to watch the opera.
Jia Zhen came up and replied, "There is a play before God, and the first book is the biography of the white snake." The grandmother asked, "What's the matter?" Jia Zhen said, "The story of Emperor Gaozu cutting the snake first." The second one is all beds. "Jia nodded." This is the second book, but it's just a reward. The gods and buddhas are like this, and so are they. "ask again:" the third book? " Jia Zhen said, "The third book is Meng's." Jia Mu was silent [1](P300).
It is emphasized twice that the purpose choice of these plays is the will of God and Buddha. Obviously, the story of Liu Bang's starting an army in The Legend of the White Snake refers to Ning Herong's contribution. "Bed full of water" uses the classic version of Biography of Old Tang Cui Shu Shen Qing. Cui's sons, Lin and others, are all high officials. At the age of 20 every year, the family dinner will be placed on the sofa and overlapped on the sofa. This obviously refers to the attacks on officials by many people in the Jia family. Grandmother Jia also thought the play was too ostentatious, so she excused herself with the meaning of the Buddha. However, the dream of Conan, who lives in Dahuai and enjoys the splendor, implies the ending that Jia Fu can't get rid of. No wonder "grandma stopped talking when she listened." At this time, Jia Fu, the "ancestor", must have a bad feeling. She has guessed, according to the wishes of the Buddha. From the ancestors, to the descendants who were sheltered and won the top prize in the imperial examination, it will be like a dream in the end. "It is so clean to land on a piece of white land."
Zhen Yinshi sleepwalked in a dreamland and saw a couplet: "True or false, helpless." [1] (P5) And this is also true and false, which is an important principle for the author to conceive the whole work. The outstanding embodiment of the work in reality should belong to the description of Jia Zhen's two houses and two Baoyu. False (Jia) is true, true (Zhen) is false. Zhen Baoyu in Zhen Fu is strikingly similar to Jia Baoyu in Jiafu. When talking to Jia and Zhen Baoyu, Leng Zixing made it clear that they came from the same bureaucratic aristocratic family, were deeply loved by their grandmothers, and were unwilling to take the traditional road of studying and being an official. Especially since they were young, they both loved their daughters very much. As soon as I was with them, I put aside all kinds of "tyrannical stubbornness". "They are warm, gentle, intelligent and elegant, and they become another person" [5609.000010105] When I visited Jia's home for the 56th time, the people from Zhen's family not only proved the appearance and even the essence of the two Baoyus through their eyes. More importantly, let Zhen and Jia Baoyu enter each other's living space in their dreams [1](p6666 The author deliberately describes their living environment and their similarities, not to emphasize that Jia Zhen and Baoyu are two incarnations of one person, but to make Zhen Baoyu become Jia Baoyu's body body double and shadow in this metaphor, thus predicting what will happen to Jia Baoyu. Sure enough, the seventy-fifth time, "The Zhen family committed a crime by copying newspapers, and now their furniture has been confiscated and sent to Beijing for punishment" [1](P837). On this day, the author also specially arranged another important activity in Jiafu, that is, copying the Grand View Garden. These two things happened at the same time, which just played the prelude to Jia Fu's copying. No wonder you said, "You didn't get up early today to talk about Zhen's family, but you were looking forward to the property, and you got it!" We are coming gradually! " [1](P830) This became one of the most important predictions in A Dream of Red Mansions. Jia Fu was copied into an inevitable thing.
The more obvious manifestation of defeat was the next day's "opening a banquet and wailing."
There will be three o'clock that day, and Jia Zhen's wine is already eight points. When everyone was adding clothes and drinking tea, they suddenly heard someone sigh under the wall over there. Everyone heard it clearly and it was creepy. Jia Zhen asked sharply, "Who is there?" Even asked several times, no one answered. You Shi said, "It must be a home outside the wall. I don't know." Jia Zhen said, "Nonsense, there are no servants' houses on all sides of this wall, and it is very close to the ancestral temple. Why would anyone be there? "Without saying a word, I heard a gust of wind and climbed over the wall. Hearing the sound of fans opening and closing in the ancestral hall, I feel the atmosphere is dense, even more miserable than before. Looking at the moonlight, it is also faint, not as clear as before. Everyone feels creepy. [ 1](P844~845)
Chen Geng's Red inkstone Clip criticized: "I didn't write about the Mid-Autumn Festival in Fu Rong, but I wrote about the banquet in Ningfu first. I didn't write the number of people in Fu Rong. I wrote the omen of Ningfu first. " Acquisition is a family house, so anyone's luck should be shown first. Moreover, the ancestors worshipped this and warned them when they got nothing? [5](P5 10) This actually opened the curtain of Jia Fu's downfall and sounded the death knell of Jia Fu. In just one or two days, the failed images overlapped, echoing what Rong Ning's second ancestor told the police to fantasize about the fairy in the distance. Obviously, this is the last straw of Jia's ancestors, and the soul has come to warn future generations that the inevitable bad luck has come to them unconsciously, waiting for an opportunity to make waves. At this point, no one can save the end of the collapse of this century-old family.
This looming and enormous fatalistic structure in A Dream of Red Mansions, like a giant palm, quietly and step by step follows the established policy, pulling and controlling the plot and characters of the work step by step towards destruction, from color to emptiness. The characteristics of this process are from subtle to obvious, from small to large, from weak to strong, which can be clearly felt by any reader in the process of reading works.