Dream of the Red Chamber: Illustrated Edition

Author: Cao Xueqin (Qing Dynasty), Gao E
Publisher:
Publishing Date: 2006-04-01
Features: "Returning to Zhen Shi Yin's Dream, Recognizing the Spiritual Jade in Jia Yuancun's Dust, and Cherishing the Beauty of the Court" This is the opening chapter. The author once said, "After experiencing a series of dreams, I have hidden the truth and used the legend of the Spiritual Jade to write this book titled 'Dream of the Red Chamber.' Therefore, the name 'Zhen Shi Yin' is used." But what events and people are recorded in the book? The author also said, "Now, I am busy and have achieved nothing. Suddenly, I think of all the women I once knew and examine them closely. I realize that their actions, knowledge, and insights are all superior to mine. My male pride is truly inferior to them. I am full of shame, but regret is useless. There is nothing I can do about it. On this day, I want to compile a collection of stories to tell the world: although I have committed many sins, there are many outstanding women in the court. It is absolutely not acceptable for me to hide my flaws and let them all be forgotten. Therefore, even a humble abode with straw roofs and earthen walls, or a rope bed and earthen stove, does not hinder my spirit. Moreover, the morning winds, evening moons, steps of willows, and flowers in the courtyard are even more refreshing to my writing. Although I am unlearned and unskilled, what harm is there in using fictional tales to narrate it? It can also make the women of the court known to the world, and it can also break the boredom of the time and awaken the eyes of those who share my interests. Isn't that a good thing? Therefore, the name 'Jia Yuancun' is used." He also uses words like "dream" and "illusion" in the text, which is the essence of this book and also serves to remind the readers. Sir, you ask, where does this book come from? Although it may seem absurd, it has a fascinating flavor when examined closely.
It is said that when the goddess Nüwa was refining stones to mend the sky, she created thirty-six thousand, five hundred and one large, square stones, each twelve feet high and twenty-four feet long, on the Wuxi Peak of the Dahuang Mountain. The goddess used thirty-six thousand, five hundred stones but left one unused, discarding it at the foot of Qingeng Peak. Who knew that after being refined, the stone gained a spiritual nature and could move freely, changing size at will. Seeing that all the other stones had been chosen to mend the sky, this stone, lacking talent, was not selected and thus felt resentful and ashamed, grieving day and night. One day, as he lamented, he suddenly saw a monk and a Taoist priest approaching from afar, both with extraordinary appearances and spirits. They sat on the ground and talked while holding a bright and translucent stone, which had shrunk to the size of a fan drop, looking very lovely. The monk held the stone in his palm and smiled, saying, "This shape is indeed a spiritual object, but it lacks substance. It must be carved with some characters so that everyone who sees it knows it is a rare treasure. Then take it to the prosperous land of poetry and literature, the noble families of scholars and officials, the vibrant and luxurious places of flowers and willows, and the land of wealth and gentleness to wander." The stone was overjoyed and asked, "What characters should be carved? Where should I go? Please enlighten me." The monk smiled and said, "Don't ask now. You will understand later." With that, he tucked the stone into his sleeve and left with the Taoist priest, vanishing into the unknown.
Who knew how many lifetimes and calamities passed before a Taoist priest named Kong Kong, seeking enlightenment and immortality, passed by Qingeng Peak on the Wuxi Peak of the Dahuang Mountain. He suddenly saw a large stone with clear inscriptions, telling a detailed story. The Taoist priest read it from beginning to end and realized it was a stone that had failed to mend the sky, had taken the form of a human in the mortal world, and had been carried into the world by the boundless sage and the vast immortal to ascend to the other shore. The stone described its fallen homeland, its rebirth, and its family affairs, as well as the idle emotions of the court ladies and poetry and riddles, all in detail. However, the dynasties and years were lost. At the end, there was a verse:
"Unable to mend the sky with no talent,
Wasted years in the mortal world.
This is the story of my past and present,
Who will record it as a rare tale?"
The Taoist priest read it over and realized the stone had a remarkable origin. He said to the stone, "Brother Stone, your story, as you say, has some interest, so it has been carved here to be known to the world. In my opinion: First, there is no record of dynasties and years; second, there are no great sages or loyal officials, no wise governance of the court or customs. It only contains a few extraordinary women, some passionate, some foolish, or with small talents and kindness. Even if I copy it, it cannot be considered a rare book." The stone replied, "Why must my master be so stubborn! I think that in the wild histories of the past, the dynasties were merely borrowed from the names of the Han and Tang dynasties. It would be better if my stone's story did not follow those conventions but recorded its own events and logic, which would be fresh and unique. Moreover, in the wild histories, there are many slanders against the emperor and ministers, or, or descriptions of adultery and wickedness, innumerable. There are also some love stories that are lewd and disgusting, easily corrupting young people. As for the books about talented scholars and beautiful women, they always open with 'Wenjun' and fill the pages with 'Zijian,' all the same, thousands of faces, and they cannot avoid being lewd. The author merely wants to write a few love poems and passionate verses, so they invent names for two men and women and add a small character to create chaos, like a clown in a play. What is even more annoying is the use of 'zhi, hu, ye, zhe,' which are either illogical or literary, far from the truth, and self-contradictory. It is better than my half-life of witnessing a few women, though I dare not say they are better than those in ancient books, but their deeds and origins can still relieve sorrow and boredom. As for a few crooked poems, they can be used to laugh and drink. The joys and sorrows, rises and falls, are all followed closely, without exaggeration, to lose their truth. I only hope that when people are drunk or awake, or want to avoid trouble and relieve boredom, they will read this book. Not only will it refresh and renew, but it will also save some strength and energy, not to chase illusions and vain pursuits. What do you think?"
The Taoist priest thought for a while and reread the 'Dream of the Red Chamber.' Seeing that its main theme was about love and that it was a true record without harm to the times or indulgence in lust, he copied it from beginning to end and made it known to the world. From then on, the Taoist priest saw color in emptiness, felt emotions from color, transmitted love through color, and became enlightened through color, thus changing his name to "The Love Monk" and renaming the 'Dream of the Red Chamber' to 'The Record of the Love Monk.' Kong Meixi of Donglu wrote a preface titled 'The Precious Mirror of Wind and Moon.' Later, Cao Xueqin, while reviewing it in the Red Memorial Pavilion for ten years, revised and edited it five times, compiled a table of contents, divided it into chapters, and wrote a poem titled 'The Twelve Beauties of Jinling.' This is the origin of the 'Dream of the Red Chamber.' The poem goes:
"All the words in this book are absurd,
A handful of bitter tears.
They say the author is mad,
Who understands the taste within?"
Now that the origin of the 'Dream of the Red Chamber' is clear, it is unknown what people and events are recorded on the stone. Please listen.