Version differences of one hundred and twenty manuscripts of A Dream of Red Mansions by Qianlong.

Yang, the former bibliophile, and two other inscriptions briefly explained this. Yang, the word cloud, was named Lian Gong, nicknamed Yan Nanzi, followed by Er Quan. Li's office is covered with yellow flags. Another said he was a flag bearer in the desert. Chu Deyi's Supplement to the Stone Records said: Yang, a young cloud, was born in Huangqi, a Han army, and was a doctor of the Ministry of Industry. He collects epigraphy vocabulary in various ways, and he is very rich in Gu Quan coins. Yang Zhu has Poems of Xingfengtang and Smoke Boat Collection of Five Lakes. But the most famous is his collection of paintings and antiques. This manuscript bears his signatures of "You Yun" and "You Yun", as well as seals of "Yang Yin", "The First Romantic Son of Jiangnan", "You Yun You Yun" and "You Yun Kao Cang", but there is no seal of "Fomei". Qiu Yan by Yu Yuan is also known as Xingbo and Xinbo. Xiushui people. He is the author of Lu Ji, among which Lu's Manuscript contains a poem by Yang. Qin Guang's first tour, nicknamed Road flyover Wei Yun. Yu Yuan also wrote a poem "To Qin Ciyou (Emperor Guangdi), on his recent manuscript". It can be seen that three people are at the same time and are good friends.

2. Comparative study of manuscripts; Since it is considered as the manuscript of A Dream of Red Mansions written by Gao E, it is worth studying. No matter whether the answer is yes or no, it will be of great significance to the book update in the last forty chapters and the edition history of A Dream of Red Mansions. I compared it with other versions of The Story of the Stone and studied various clues in this manuscript. Now the score points of the results are explained as follows.

(1) The original text of the first eighty chapters of this manuscript is different from the original text of the first eighty chapters of A Dream of Red Mansions printed by Cheng and Gao twice. The so-called difference means that although they are almost the same, they are very different from each other. It's easier to point out the difference between Cheng and Gao typeset copies. In the first eighty chapters, any changes in the text show that the original text is different from Cheng and Gao Ben. But beyond that, there are still many differences with Cheng and Gao's typesetting, which have not been corrected. For example, the first time, the sixth time and the seventh time, there are still batches of residual fat. These are all double-line comments, and the word "batch" is in front of the comment. Yang Zao noticed that "there are four opening poems at the beginning and four at the end, or two sentences are different." Lan Shu decided to attend the festival. "In fact, not only Cheng Jiaben and Cheng Yiben don't have these poems about looking back or going back to the end, but many fat reviews found in The Stone have such poems, but they are different from those in this manuscript. There are five poems in this manuscript, and five poems at the end. Among them, the following points are worth noting:

(1) There is a poem looking back in the fourth time, but Chen Geng, Xu Qi and Xu Jia didn't.

(2) In the fifth cycle, there are poems about looking back, and there are also poems about Qi, but there are no poems about Qi.

(3) The fifth time, there was a poem at the end of the poem, but Jia Xu didn't. Although Chen Geng's version and Xu Qi's version also exist, their poems are different.

Another similar example is the fourth official protection sign. Cheng Jiaben and Cheng Yiben only have official titles of Jia, Shi, Wang and Xue, and there is no note below. Several other fat batches of "The Story of the Stone" have small notes here, indicating how many rooms in each family, how many rooms in Beijing and how many places of origin. These 120 manuscripts have similar annotations here, but they are different from the fat batch. At the bottom of the "Wang family", and in his notes, it is written: "After Du Taiwei ruled Bo Gong, there were twelve rooms, all of which were second rooms, and the rest were registered." These 120 manuscripts are here "... * * * Twelve Li, all of whom live in five rooms today, and were originally seven-room people. "

The separation and regression of Chapter 17 and Chapter 18 is also an interesting example. There is no separation between Bazaar and Chen Geng. I don't know whether JOE has been separated from it twice. The typography of elevation and the neat Xu Ben separated these two times. However, they are separated in different ways. Qi's seventeenth cycle is shorter than that of Cheng and Gao Ben. That is to say, a large part of the stories of Cheng and Gao Ben in the second half of the seventeenth cycle are placed in the eighteenth cycle of Qi Xu. Chapters 17 and 18 of "One Hundred and Twenty Back" are also compiled separately, in the same way as Qi. On the other hand, however, chapters 17 and 18 of this manuscript are different. QiXu was originally:

Time 17: The Grand View Garden was measured properly, and Hongyi Garden got lost and explored twists and turns.

The 18th time: Lantern Festival, Jia Yuanchun went back to the provincial capital to help his lover Lin Daiyu preach poems.

The two eyes in the one hundred and twenty manuscripts are:

The seventeenth time: the number of questions in the garden exam is right, and Jia sells jade to warn the guests.

The 18th time: Lin Daiyu cut the sachet by mistake, and Jia Yuanchun went back to save the Lantern Festival.

And Cheng, what comes back from high typography here is:

The seventeenth time: the Grand View Garden was inspected, and Guo Rongfu returned to the province to celebrate the Lantern Festival.

The eighteenth time: the emperor's kindness is more important than the princess's parents, and the family is happy with Baoyu.

In fact, this 120-page manuscript has many items in the first 80 items, which is different from any fat review and high-level typesetting. "Changing the text" only changes the word "text" to make it consistent with Cheng Yi's version, but does not change the same topic. Yang himself once said that "there are 17 different contents and elements". These seventeen places have all appeared in the first eighty times. Judging from all these signs. The "text" of the first 80 chapters of this 120 page book comes from … a particularly fat book review. It is not only different from all kinds of fat storytelling that have been found, but also different from two typesetting books with high elevation.

(2) Secondly, we should talk about the last forty chapters of this manuscript. Up to now, the words we have seen since the eightieth chapter of A Dream of Red Mansions are only books printed by Cheng and Gao, which are called "Cheng Jiaben" and "Cheng Yiben". (It is reported that the Beijing Library has found another copy of 120, which is not quite the same as the one that has been photocopied. Unfortunately, we can't see it. ) This copied 120 page manuscript, the last 40 pages, on the whole, is different from the two printed manuscripts of Cheng and Gao. If subdivided, this can be divided into two situations. Twenty-one of the last forty chapters of the manuscript have been significantly revised. The text of these twenty-one chapters is different from the versions of Cheng Jia and Cheng Yi. Its main feature is that it is much shorter than the above two typographical texts. According to my rough estimation, the average number of words in 2 1 text of this transcript is at least one quarter less than that in Cheng and Gao typesetting. The other 40 chapters and 19 articles after the manuscript have not been changed except for correcting individual typos. The text of the nineteen chapters is exactly the same as that of the second chapter. And today's redologists have collated the similarities and differences in the process of A and Cheng B in detail more than once. We can check their "proofreading notes" with this copy. The result is that these nineteen chapters are exactly the same as Cheng Yi's, without exception.

(3) Let's talk about the situation of "changing the text". All the "corrections" in 120 chapter are the same as those in Cheng Yiben, without exception. But if we carefully study these "changes" and the places where "changes" appear, we can find three points worthy of attention. Now described as follows:

(l) As mentioned above, the manuscript has been revised 21 times out of 40 times, and it is a major revision. But in the other nineteen times, there was no change except for correcting individual typos. It would be strange to push harder. Whether the author is revising his manuscript or collating another book in his hand according to Cheng Yi's statement, it is reasonable to say that there should be some changes every time. We can't blame this situation on this person's negligence or inaction. If this person suddenly gives up revising Wang Zuo after several revisions, then the person who hasn't revised the text for 19 times should be the last 19 times of the manuscript. But this is not the case. Those who haven't changed the text in these nineteen chapters are mixed in other chapters. The only reasonable explanation for this is that it was changed nineteen times, but because it was too much and too messy, this person immediately copied it again. The 19th chapter has been changed and copied, so it is completely consistent with the 19th chapter in Cheng Yi's book.

(2) The "changes" in the first eighty chapters are less than those in the last forty chapters. And the nature of the two seems to be different. In the first eighty chapters, it seems obvious that this man is revising another manuscript in his hand according to Cheng Yi's manuscript. If there is any discrepancy between the written transcript and Cheng Yiben, this person will correct it according to Cheng Yiben, so there are deletions and additions. However, in the last forty chapters, except one or two words were deleted, only Gao E's manuscript was added. No writer only adds or does not delete his manuscript, but usually he has both. On the positive side, this phenomenon also shows that the last forty chapters of this manuscript are indeed closely related to the last forty chapters of Cheng Yi. Cheng Yi's Forty Chapters of Shinohara was born out of such a manuscript, or was processed and sorted out by such a manuscript. Moreover, this person who is processing and sorting has maintained a principle in the process of processing and sorting, that is, on the one hand, he should modify the sentences in the manuscript, on the other hand, he should try not to discard the words in the manuscript. All the words in the manuscript need to be preserved. Under this condition, the only way to modify the article is to beautify it by adding words.

(3) If we further study the nature of these "revised texts" in the last forty chapters-that is, the differences between this transcript and Cheng Yi-we can divide them into two categories. The first is to beautify the original sentence and the original plot. The original sentence is simple, straightforward and not delicate, so it is complicated, beautified and deeply described. So sometimes the original text is only two or three sentences, but it is expanded into hundreds of words. Judging from these examples, the reviewer and the original author are by no means the same person. The literary accomplishment of the reviser is much better than that of the original author. The second category is the change of one or two words. Or change the words used in classical Chinese into spoken Chinese, or change non-Beijing dialect into authentic Beijing dialect. This change is complete. Anything that should be changed according to this principle will rarely be missed. Give a few examples:

Change "we" to "we". Change "busy" to "hurry"

"Go away" was changed to "Go away,)". Change "promise" to "promise".

"At this time" was changed to "This morning and this evening"; Change "when" to "how soon".

Change "shake your head" and "nod" to "shake your head" and "nod".

Change "tomorrow" and "today" into "tomorrow" and "today".

Replace "and" with "give".

Change "house packaging" to "house packaging".

After a while, the place and family were changed to a moment, place and family.

Change "Discovery News" to "Discovery News".

Change "good" to "good".

Change "unusually loud" to "unusually loud"

There are many such examples, too numerous to mention. Anyway, this man has completely changed. Everything that can be changed has been changed. From a linguistic point of view, this revision is of great significance. As we all know, Cao Xueqin hopes to use Beijing spoken language in his original eighty chapters of A Dream of Red Mansions. But he didn't do it completely. On the one hand, because he didn't emphasize this point too much, he didn't try to implement it. We can find (/we) and "we" used together in eighty chapters of A Dream of Red Mansions. Use today, today, tomorrow, tomorrow, yesterday, yesterday. There are not many other places where the word "er" is added. In particular, Cao Xueqin rarely uses "morning and evening" instead of "time". Second, is Cao Xueqin a southerner? Although he lived in Beijing after childhood, he probably still has a southern accent. For example, in The Story of the Stone, it is homophonic with love, Qin is homophonic with love, Yu Xin is homophonic with stupidity, and Meng is homophonic with male. Zhi Yanzhai has pointed out Cao Xueqin's tendency of "using the North and the South". In the thirty-ninth chapter of Chen Geng's book, he criticized: "According to the tone of some people's speech and the use of utensils and food in this book, it is a combination of east, west, north and south." As early as the fifty-third session, Yan Zhi brought this matter up again, and approved: "This article is correct for North-South interaction." Third, Cao Xueqin didn't fully adopt Beijing dialect, which may be intentional. The Jia family is from Jinling, and their accent should be a little southern. Qin Xue doesn't want to describe them all as "old Beijing". Whatever the reason, it is undeniable that Qin Xue did not make full use of the spoken Beijing dialect. However, the changes in the last forty chapters are different. This person noticed that Qin Xue used Beijing Spoken English, and at the same time noticed that the author ignored the last forty chapters, so he changed the last forty chapters into Beijing Spoken English completely. This means that Cao Xueqin did not write the "text" and "revised draft" of this manuscript after 40 times. The author of the "text" and the author of the "revised text" in the last forty chapters are two different people. Cao Xueqin used both north and south. Although he used some Beijing spoken language, he didn't emphasize it too much. The author of the "text" of the last forty chapters completely ignores this feature of the first eighty chapters and doesn't use Beijing spoken language at all. However, the author of this "revision" is a native of "old Beijing". He grasped the particularity of the first eighty chapters, and put special emphasis on it, so he completely changed the last forty chapters into Beijing spoken language.