Why didn't Cao Xueqin finish writing A Dream of Red Mansions? If finished, why did Gao Shao write the last forty times?

His greatest misfortune is that he spent ten years of hard work and painstaking efforts to write a "book of wonders", but the second half was lost, only stopping at eighty times, becoming a residual draft. If it is a holiday, it doesn't matter that he doesn't have enough time to finish writing this masterpiece, but this is not the case. As early as the 19th year of Qianlong (1754), when Qin Xuenian was only 30 years old, this manuscript had been "read (in fact, it is written in words, so it is called) for ten years, added and deleted five times, catalogued and divided into chapters". Apart from some places, there are poems to be supplemented, and individual chapters should be further divided into chapters. It is the most inconspicuous accidental reason that makes this masterpiece a remnant manuscript, so it is the real misfortune.

We know from the fat review that in the 21st year of Qianlong (namely, Bingzi, 1756, two years after Xu Jiahou), the re-evaluation draft of A Dream of Red Mansions was copied by relatives and friends of Xueqin at least 75 times. All cases that should be divided into two parts, broken poems or missing poems, are approved one by one. But this time, the manuscript is probably incomplete. This is eleven years later (Ding Hai, 1767, thirty-two years after Qianlong). When the author died, his relatives and friends went through the manuscript of this book again. As you can see, one of them said:

Xue Qian went to the prison temple to submit the text. Aaron's main title is "Hua Xiren begins and ends", but I only saw that five or six manuscripts such as "Prison Temple Comfort Baoyu" were lost once by the borrower. Alas! Ding, abnormal.

Another person said:

"Prison Temple" has many words back to Xue Qian and Yu Hong, but unfortunately it was lost without the manuscript. Alas! Ding, abnormal.

Another person said:

Writing the chivalrous articles of Neil, Ziying, Xiang Lian and Yu Han all have their own pens. Unfortunately, the words of Wei Sheyuan were lost without manuscript, alas! Ding, abnormal.

The other one said:

Sighing that I can't see Baoyu's "putting down the cliff" is hate. Ding, abnormal.

In the comment on writing, it is said that "the borrower was lost at one time", and the time should be earlier, and the "lost" should be the author's manuscript. If the manuscript is copied and read many times in the next few years, even if this manuscript is lost, it will not be an irreparable regret. From the comment on writing quoted above, we can also infer the following facts:

First, after the author's "Five Additions and Deletion" was basically finalized, while Zhi Yanzhai and others were adding copies one after another, relatives and friends rushed to borrow it for a quick look. Maybe there is more than one borrower, and the second half of the manuscript is not copied in time, which is very likely to be lost. Judging from the plot content of the five or six drafts of Lost, these five or six drafts are not related; Some should have been earlier, such as "Wei Shooting Garden", which was probably written by Jin Qilin's leading lines, which made Xiangyun and Wei become attached; Eighty times before learning to shoot, there are already words "as quotations", which can be written immediately after 80 times; Some are late, such as prison temples; At the latest, such as "let go of the hanging Ya" (ya, the mountain part, the same below), can only be in the last few times, but not the last time. The last time was "Fantasy List of Police and Bandits", and no comment said that it was lost. The earliest contact with the manuscript was Zhi Yanzhai, who should have read the whole manuscript. I seem to have read most of the manuscripts, so I still remember the contents of the "lost" manuscripts, so there are words such as "each pen is used for fax portrayal" and "text" at some time; Only "Put Down" came back, and the tone of comment on writing seems to be less than that of reading before "Lost".

Second, these "lost" manuscripts are all from the 1980s. There is a manuscript missing here and another manuscript missing there. What is missing may also be the story that follows the post-80 s. In this way, there are too many missing manuscripts after the 1980 s, which are intermittent and impossible to copy cleanly. This is why the manuscripts of A Dream of Red Mansions handed down from generation to generation all end with eighty chapters.

Thirdly, the comment on writing quoted above was added to the manuscript in the third year after Qin Xue's death. At that time, all the relatives and friends related to the manuscript had "gone one by one". Now there is only a mess left in Ding. " It can be seen that the manuscript is still the manuscript of A Dream of Red Mansions, and the rest except the "lost" five or six manuscripts after eighty chapters. If there are thirty chapters after eighty chapters in the original manuscript, there should be twenty-four or five chapters in the residual manuscript. However, some researchers believe that Zhifu's so-called "last thirty chapters" should not take eighty chapters as the dividing line, but should take Jia's failure as the dividing line. Assuming that the failure of writing is about 90 chapters, this book should have 120 chapters, and the remaining manuscripts are more. The rest of the manuscripts are kept in abnormal places, which is a reasonable conclusion based on the logic of its comment on writing. Otherwise, I wouldn't just sigh that the five or six drafts were "lost" or just hate that I couldn't see the words "put down".

Four, a few years ago, I said, "A Dream of Red Mansions" was completed before JOE (1754), and "Add and Delete Five Times" was also completed before JOE; After JOE, Cao Xueqin never revised his completed manuscript of A Dream of Red Mansions. Therefore, all the manuscripts were copied after JOE, such as maoji Ben and Chen Geng Ben. , are different from Xu Jiaben (it's a pity that JOE's book itself has mistakes and omissions, but he didn't miss them), especially those obviously changed words, whether the title or the text, regardless of its advantages and disadvantages, are not Cao Xueqin's own credit. (My book "On the Lost Manuscripts of A Dream of Red Mansions", p. 286) At first, this was only the result of a comparative study of various text differences. At that time, I didn't quite understand: why did Cao Xueqin leave his basically completed manuscript to Yan Zhi, Zhen Yu and other relatives and friends for review and review, but he didn't do the final repair work himself; It took him only ten years to write this novel, so is it afraid that it will take another ten years to finish the book? Why do you want to make a book that you have worked so hard to "cry" into a residual draft? Now I understand: the main reason is that "the May 6th draft was lost by the borrower". If these five or six manuscripts are thrown into the water or burned, it is impossible to find them again. Cao Xueqin may be heartbroken, but he will force himself to rewrite them. Although rewriting them is a very frustrating thing, there is enough time. Now it's either "lost" because the borrower is forgetful for a moment and can't remember where the manuscript is and who has it. This is a daily - happened thing. Everyone will think: it is always in someone's place, no one will deliberately hide the fragments of these words, and maybe one day it will be suddenly discovered again. So there was some waiting. Cao Xueqin waited for all the manuscripts handed over to Yan Zhi and other relatives and friends to be approved, copied and collected, so as to make the final revision, including making up the missing poems, or making some adjustments and drafts. However, the complete manuscript has never been handed in because it is incomplete. Cao Xueqin may have been unhappy about this: how can the manuscript not be found? But the result is likely to be luck; We can't order those relatives and friends who cooperated with him to get back the lost manuscript within a time limit. Perhaps the careless borrower is an elder that the author can't afford to offend. It goes without saying that this careless person didn't think that he inadvertently became a sinner in the history of China literature. Sadly, Cao Xueqin himself and even Zhi Yanzhai didn't fully realize the seriousness of this matter at that time, and always thought that there was plenty of time, so it was difficult to dedicate the masterpiece A Dream of Red Mansions to the world in the end. Therefore, before the author died, Zhifu never mentioned what was lost in the five or six drafts.

Unexpectedly, time flies and fortune is unpredictable. Xue Qin's only son, who lives in the poor Xishan, unfortunately got acne. He died of Jia Shenchun (1after February 2, 764), "getting sick because of sentimentality" and "getting sick without a doctor" for several months. After half a year, Zhi Yanzhai died one after another. "Bai Xuege's dream is still growing", and A Dream of Red Mansions has become an irreversible manuscript. Years later, it took me a long time to lament the incompleteness of this wonderful book. However, I made a huge mistake myself. Because I cherish the remnants of the 1980s, I am afraid that I will be "lost" again, so I will keep them for myself and will not show them easily. This is really a mistake! It is more difficult for a personal manuscript to survive the ruthless elimination of a long history than winning the first prize in the lottery. Cao Xueqin's manuscript, except for forged fakes, whether words or paintings, has long since disappeared? For future generations, it is even difficult to find out who this freak is and when and where he died. Where can I find his Tibetan manuscript? Thirty years after Cao Xueqin's death, Cheng Weiyuan and Gao E published one hundred and twenty copies of A Dream of Red Mansions, which were supplemented by unknown people for the last forty times. Although some plots seem to be basically consistent with the author's original intention at first glance, such as the early death of Daiyu (called "Zheng Qianbian" in the manuscript), the marriage of Jin Yucheng (Baoyu was sober in the manuscript and talked about old love), and Baoyu became a monk (called "hanging hands" in the manuscript). Those are the things repeatedly put forward in the first eighty chapters. If we carefully compare the comments of Qin Xue, such as Zhi Yanzhai, who read the whole book and always mentioned the plot and words of the post-80s generation, we can see that when writing the sequel, except for the 80 words that are widely circulated in the world, the grotesque remaining manuscripts are "lost". The supplement has never seen a word in the last dozens of articles written by Cao Xueqin.

Now it's time to say version. I don't intend to talk about the development of the version here, just want to talk about the basic principles of my version selection.

Up to now, most of the typography of A Dream of Red Mansions is block printing based on elevation. Only 1982 people's literature publishing house published the book "A Dream of Red Mansions Institute of Chinese Academy of Art", and the first eighty chapters were based on the manuscript of Fat Review (Chen Geng Edition). According to Liu Shide's brother, a publishing house in the south asked him to proofread a new book. He also took the manuscript in the first eighty times, but he hasn't read it yet. As early as 1950s and 1960s, Yu Pingbo had compiled a school-based story of A Dream of Red Mansions and published it in the Humanities Society. Although this book has attracted the attention of redology researchers, it has still been ignored by readers and has not been reprinted since the Cultural Revolution.

Why is the copying of A Dream of Red Mansions mainly based on elevation engraving? Apart from the fact that several books with comments were originally written by Qing people on Cheng Gaoben, I think it is also because Cheng Gaoben has been processed by later generations, and the whole book has fewer contradictions and smoother words, which is convenient for ordinary readers to read. However, the manuscript of Lipid Review has only 80 chapters at most, and some have only a few chapters or a dozen chapters, with obvious mistakes. Some of them are literary, confusing or inconsistent, especially when combined with the sequels of the last 40 chapters, which have obvious contradictions and conflicts. Nevertheless, I still think that the new proofreading direction of Yu Pingbo School-based and Red Research Institute, which rated fat as the first 80 chapters, is absolutely correct.

As we all know, Cheng Gaoben's comments on early obesity have changed a lot. If these changes are to correct mistakes and make up for defects, that's fine, but it's not the case. Many times, Cheng Gaoben just changed the author's original intention to accommodate the plot of the last forty chapters. For example, at the beginning of the novel, Shen Ying, the waiter who wrote the Red Defect Palace, came to the world with the stone he wanted to cross the world. As Shen Ying was reincarnated as Baoyu, Baoyu was born with jade. Cheng Gaoben's code was changed to stone named Shen Ying waiter, and the two became one. In this way, Jia Baoyu was reborn as a stone. Logically speaking, when the stone returns to the foot of Geng Qingfeng and writes his own experience as the Story of the Stone, Baoyu must die at the same time. It's meaningless to be a monk and still be alive. I think this change is to emphasize the inseparable relationship between Jia Baoyu and psychic jade (in fact, this relationship was handled better in the original idea), so as to meet the plot needs of the last forty times because of the loss of jade. On another occasion, Xifeng made fun of Daiyu and said, "Since you have eaten our tea, why don't you be our wife?" They all laughed. Li Gongcai smiled and said to Baochai, "Our second aunt has a good sense of humor." In this regard, Fei commented on the author's intention: "Er Yu's spouse is in Jia's family (including He Feng, of course), that is, the viewer and the author are beyond doubt, so this inscription is often used. I want to laugh too. " "That's great! It's her turn to praise. " It can be seen that the original intention is to show that Baodai's marriage can't be fulfilled in the future, which is quite unexpected for "everyone". However, in Cheng Gaoben, what Li Wan said was finally changed to what Baochai said: "Baochai laughed and said,' Ersao's humor is really good. ""deliberately create an illusion for readers, as if Baochai was hypocritical and colluded with Xifeng in advance, which was in line with the writing of Switch Plan at the age of forty, but only poisoned Cao Xueqin's words. Another example: In the seventy-eighth session, before Jia Zheng ordered Baoyu, Jia Huan and Jia Lan to write Zen poems, there was a long passage about their talents, saying that Huan and Lan were "taller than Baoyu in terms of career"; On poetry, Baoyu is "not as ethereal and elegant as Baoyu, and every poem is as rigid and boring as stereotyped writing", but Baoyu is quite different in poetry. He said, "Jia Zheng is getting old recently, and his fame and fortune are all gray. However, at first, he was also a poetic person, because between sons and nephews, he had to take the right path. Although Baoyu hasn't studied recently, he can quite understand this. After careful evaluation, it was not very humiliating for his ancestors. Just think about our ancestors. They are all the same. Although some of them have made great achievements, they have never made a fortune. It seems that this is also the number of good families. In fact, his mother dotes on him very much, so he is not strong enough to force him to raise a career. " Wait, Cheng Gaoben has completely deleted it, and the intention is obvious: in order to connect the plot of the last forty chapters with the first eighty chapters, there is no contradiction. If you don't delete the original, Baoyu will be instructed by strict father to study at home, turn over a new leaf and teach himself eight-part essay. Finally, he will be proficient in the art of official career promotion, and win the championship in the first world war, ranking far above Jia Lan, who was originally "higher than Baoyu", and so on.

The original and the sequel are inconsistent, so it is not advisable to delete the original and adapt the sequel for consistency; In Cheng Gaoben, such abridgement is too numerous to mention. What I want to explain here is that not all the changes made to adapt to the sequel plot began with Cheng Gaoben, and many of them have already been made in Jia. Therefore, I quite doubt that Jia Chao's finishing and processing is a sequel in the past 40 years, and the author is unknown, while Cheng Weiyuan and he just repaired and processed it on this basis, just as they said in the preface to the engraving. There are many clever and self-defeating additions and deletions in Cheng Gaoben, which have nothing to do with the continuation of the book. Many researchers have pointed out that there is no need to repeat them here. In a word, in order to be more consistent and reduce contradictions, we have to use Cheng Gaoben as a copy without analysis, because the price of doing so is to seriously damage Cao Xueqin's original work; We would rather let these objective descriptions of the contradiction between the original and the sequel continue to exist and let the readers judge for themselves, which is much better than providing unreliable words to make readers fall for it.

Haven't the first eighty chapters been published based on the manuscripts of early fat reviews? Why do you want to make another one? The publication of the notes of Yu School or Redology Institute naturally made great contributions to Redology Institute, and I was fortunate to participate in the latter. However, in recent years, after repeated comparative studies, I think it is not the best way to come up with a really ideal book, choose one as the base book, and then consult other books. For example, Chen Geng's book may be the highest overall value among the early fat evaluation manuscripts, because it has the advantages of earlier, more comprehensive and more preserved fat evaluation. Should it be okay to choose it as a base? In fact, there are only sixteen copies of JOE, the original is earlier, the text is more credible, and it is closer to the true colors of Cao Xueqin. Most of the differences between Chen Geng and it can be seen that someone else changed it. So as far as the sixteen chapters are concerned, the value of Xu Jiaben is obviously higher than that of Chen Geng's, but it is a pity that there are too few chapters. Based on Chen Geng's book, although we can also refer to JOE's school to make up some words, after all, we can only change some right and wrong, save and leak, advantages and disadvantages, and the rest seems to be ok (if we study it carefully, we can still separate it), so we have to respect the foundation and keep it as it is. In this way, it is a pity to try to restore Cao Xueqin's true colors. Looking back, for example, JOE's third copy is "Jinling Recovers Jia Yucun Guo Rongfu to Adopt Lin Daiyu", which is popular and safe, and the upper and lower sentences have comparative meanings; Next to "adoption", a chubby comment said: "This word is shocking and desolate." It can be seen that Xueqin is pro-imitation. When I arrived in Chen Geng, this book was changed to "Jia Yucun Yuan Huan's Reinstatement Post Lin Daiyu's Father Entering Beijing", which is full of words. The isolation of Daiyu's foster family is completely gone, which can be described as turning the stone into gold. Another example is "The Fifth Glance", and Jia Xu wrote "A Dream of Red Mansions opens a new scene to spread false alarm", which is also Qin Xue's original intention. There is a quote from the end of the eyebrow in the 27th poem "Burying Flowers" as proof. It is said: "There are many books that create a new situation, but this time it is an old story, and it is not a good poem or a bad poem." This batch of Chen Geng's books are also recorded, with slightly different words. It has been said: "It opens up more new faces and new fields than A Dream of Red Mansions, but it is revival and renewal. It is not a good poem to read, not a stone brother, and it is the shame of ancient and modern novelists." Not normal. "When the comment on writing was added, Qin Xue was still alive, so he only said words to comfort each other; After the author died, the old draft was rewritten, and the last sentence was changed and signed, which was also different from that approved by other public officials. The changed comment on writing "find another way, find another way" has not changed. Instead, it refers to a dream of red mansions, which shows that the author's own reply has always been like this. Although Chen Geng recorded this batch, his fifth report has been changed to "Dreaming in Dreamland refers to twelve golden maids drinking fairy mash in a dream of red mansions", which makes the comment on writing of "opening a face" incomprehensible.

As far as the text is concerned, it can be proved that JOE's version is close to the original, while Chen Geng's version was modified and destroyed by others. My essay Notes on a Dream of Red Mansions (Journal of Dream of Red Mansions No.4, 199 1) has given several obvious examples. The first is the fifth description of Baoyu's dream. Jiaxuben: "On that day, the police illusion took Baoyu and Ke Qingshi to a place ..." The police illusion stopped Baoyu from advancing and advised him: "Baoyu wanted to answer, and the water in the maze rang like thunder ..." It was written that the police illusion actively guided Baoyu not to answer, which was correct, because the dream was designed by the police illusion, and Ji Maohe was originally changed to Baoyu and Ke Qing, and they left the police. Until the critical moment, the police were under the illusion of "coming from behind"; He changed the police illusion to "I haven't finished my words, just listen to the maze ..."-I won't even let her finish her words, so that Baoyu, Ke Qing and the monsters in the maze are not controlled by the police illusion, and it seems that the monsters in the water are more powerful than the police illusion. In Labyrinth, "a monster like a hag (symbolizing the horror of love, so it is called because it is indescribable) jumped out and jumped straight" and changed to "many hag sea ghosts (in fact, monsters in the sea) dragged Baoyu down", and so on, all of which were self-defeating words that simply pursued thrilling plots regardless of the author's meaning, not from the author's hand. The second is to write back for the seventh time that Zhou Rui's family sent palace flowers to Xifeng. Jia said that she "passed Li Wan's back window, crossed the western flower wall, went out of the western corner gate and entered Xi Feng's yard", which, as the fat critic said, was "one stroke and one ink" with a hint of Li Wan. However, after the sentence "under the back window", Chen Geng added the sentence "I saw Li Wan sleeping on the kang through the glass window", which not only became a snake's foot, but also made a big joke. Because later Zhou Rui's wife asked her elder sister's wet nurse, "Where does grandma sleep?" Time to wake up! "It can be seen that it is time to stop sleeping. Of course, Zhou Rui's family did not expect that there would be an affair between Xifeng's husband and wife in broad daylight. Geng actually changed "grandma" to "sister" and became "sister is sleeping? "It's time to wake up!" Just now it was said that the wet nurse was "patting her sister to sleep". Why did she wake her sister? Sister is a nursing baby and has the right to sleep day and night. What's the point of sleeping in the middle? In other words, Li Wan should not sleep in the middle, but want her to sleep; My sister should have a good sleep, but she won't sleep. Cao Xueqin fainted with anger when he saw such a change of pen. Third, Jia Rong borrowed a glass kang screen from Feng for the sixth time. At first, Xifeng refused, and Jia Rong smiled and begged. Jia went on to write: "Xifeng laughed and said,' I think (in the sense of' funny' and' weird' commonly used in novels) everything in our Wang family is fine, isn't it? Usually you have those things there, but you can't see my talent! The forger of the bazaar couldn't figure out the meaning, so he changed the word "I" to "you", added some words, punctuated the sentence again, and became "Feng laughed:' I haven't seen you either. How is everything in the Wangs' house? You have those good things there, but you can't see them. Everything that is partial to me is good. ""It's a bit like a game of changing words and punctuation. None of the above figures can be corrected with reference to Jia Xu's version.

A Dream of Red Mansions is actually due to the complexity of sorting and copying. A book that was copied late and the overall quality is not as good as other books may retain the original text that other books do not have in some places, which shows its rationality. On the other hand, those books with high overall credibility were copied when the author was still alive, and inevitably there were some changes or mistakes that were not made by the author or even without the author's consent. As the third article describes the appearance of Daiyu, there are two sentences saying that her appearance is:

Two curved eyebrows are like wrinkled cages,

A pair of eyes that look happy but are not.

Here, the next sentence was written in Chen Jia. In JOE, where the version was very early, this sentence was marked with five red boxes and written as "a pair of similar-dissimilar-dissimilar-dissimilar-dissimilar", indicating a lack of writing; Chen Geng couldn't fill the blank, so he simply rewrote two cliches and changed nine sentences into six sentences, which were called "Goose Eyebrows with two bends and a half frowning (which should be' moths') and a pair of affectionate almond eyes", which was totally out of proportion to what fat critics called "fantastic eyes". Chen Jia's supplementary text seems to be barely passed, but it can't stand scrutiny, because there is a language of "tears" below. Isn't it contradictory to say "seemingly happy but not happy"? Also, "smoke eyebrows" is a metaphor for writing eyebrows, while "eyes contain feelings" is a straightforward statement; "Smoke" and "emotion" are not the same, so confrontation is not feasible. In the collections published in recent years, this sentence is unique as "like crying but not crying." Without these flaws, you can know that it is the real original text. The characters in the Liezang version have also been changed, which is not as good as the JOE, Jimao and Chen Geng versions on the whole, but there are some unique features of Julie. For example, in Chapter 64, there is no copy of JOE, and the original of Chen Geng is gone. Some people once suspected that the text of this chapter was supplemented by later generations. Now there is a five-character poem in this chapter, which is not found in other chapters. At the end of the chapter, there are couplets, which still retain the image of early manuscripts. If we study the content of the poem, we can prove that this chapter was also written by Cao Xueqin. Similarly, there is a similar situation in the dream manuscript. For example, there are poems before the fourth article, but there are none in JOE, Bazaar and Chen Geng.

Even if Chen Jia's book, the book with a later height, has been revised a lot, it is not completely undesirable. For example, in the fiftieth chapter of the impromptu couplet, there are two sentences about snowflakes:

Lace is cold, color is afraid of frost fading.

At the end of the sentence, Meng Zhen and Lie Zang are "Xu", which is incomprehensible and is undoubtedly a typo; Xu Qi and Jining thought it was falsetto, but changed it to "poly", which was actually a false shape of "knot", saying that six snowflakes were formed because of cold, while Chen Jia and Cheng Gaoben kept their truth. For example, Xia Shouzhong, the eunuch of the Sixth Palace, sent a message that "Jia Zheng will enter the DPRK immediately", and the book went on to say that "Jia She and others don't know how the omen is, so they have to change clothes and enter the DPRK in a hurry", which is strange. Jia Zheng was declared to the court, so why is Jia She busy? According to the Records of the Later Han Dynasty, two hours after entering the DPRK, there was news that "Jin was appointed as the Minister of Fengzao Palace and added a virtuous princess". Jia She and Jia Zhen also changed their clothes, took Jia Rong and Jia Qiang, got into the big sedan chair of the old lady, and came to thank them. "。 Obviously, the previous "Jia She" was the fault of "Jia Zheng"; However, all these books were mistaken for Jia She and Chen Geng, and only Chen Jia and Cheng Gaoben were mistaken for Jia Zheng.

In short, it is not advisable to choose only one notebook as the background to proofread the ideal first eighty texts. The only proper and reasonable way is to consult and proofread each other with more than ten existing notebooks and select the good ones. The so-called "goodness" means keeping Cao Xueqin's original appearance as much as possible under the premise of reasonable art. This is a meticulous work, which requires insight and insight, and it is troublesome and laborious. Since this is the only correct way, I'd better do it, and try my best to satisfy the readers and myself with double seriousness and heart.

In the arrangement and publication of classical vernacular novels, the achievements of the reform and development of philology should also be reflected. Simplified characters, new punctuation and segmentation have been widely realized, and I think we can go further. One is the word "he", which used to represent the words "he", "she" and "it" today. Of course, A Dream of Red Mansions is also confusing, only the word "he". We parted this time. I think this has both advantages and disadvantages, which greatly facilitates reading, just like changing traditional Chinese characters into simplified Chinese characters, and it is not disrespectful or ultra vires to change the original. The other is the word "that", which represents the words "that" and "that" today. This time it is also separate, so it is clear at a glance, according to the standard usage of modern Chinese.

Similarly, unfamiliar variants and loanwords with different meanings do not need to remain unchanged. For example, the word "stubborn" was used in the novel, but it has been changed now. In addition, the novel uses a lot of "fat" words, but they are all "boats", so there is no reason not to change them. Another example is "laughing frequently", which is actually "laughing happily"; "Take a ride" is "strike up a conversation"; "□ (the left side of bamboo is the right side)" means "rinse"; "You" is "stepping"; \ Yao \ is now written as the word \ Wen Wen \ is now \ Wen Wen \; "Stupid and strong" or "stupid and strong" is now written as "stupid"; "Fu's" is now often used to "serve"; "forbearance" is now "finally", "compromise" is "injustice", and so on, and these have also changed. Some borrowed "belts" for "wearing" and some changed them; There is no distinction between "once" and "for a while", and everything that can be divided is divided. What is really unclear is old.