Please comment on Jia Baoyu in A Dream of Red Mansions.

Jia Baoyu in A Dream of Red Mansions is a rebel image within a feudal aristocratic class and a newcomer image on the eve of the collapse of feudal society, which has almost become the knowledge of the vast number of redology researchers and enthusiasts today. When we reread A Dream of Red Mansions under the background of emancipating men's minds, we will find that Cao Xueqin's portrayal of Jia Baoyu reveals the subversion of traditional male gender roles everywhere. It is no exaggeration to say that Cao Xueqin is a writer with a preliminary awareness of gender equality and male emancipation. Although limited by time, he may not know what gender roles are. But Jia Baoyu, the character he created, embodies the idea of emancipating the mind that many men believe in. This rebellious image of feudal nobles is also the rebellion of gender roles in traditional society. Let's try to pay attention to the image of Baoyu from the perspective of male liberation.

The ideal man under the Confucian cultural concept should be: self-cultivation, governing the country and leveling the world. Jia Baoyu is a figure with high hopes from his family. Jia Zheng and others' expectations of Baoyu are naturally "deep and refined", climbing high and looking far to worship their ancestors. Jia Baoyu despised fame and fortune all his life and hated the so-called "official career economy" the most. This "lack of initiative" runs counter to the requirements of traditional social gender roles for men. In Jia Baoyu's place, the opposite of fame is "romantic poetry and wine", in which he enjoys himself.

The fifth time, Baoyu followed the Qin family to find a place to take a nap and went to the house first. He saw a picture and a couplet hanging, which was "burning quinoa" and the couplet was "everything is learned, and human feelings are also learned." Baoyu quickly said, "Go away, go away!" I hate being so famous. Anyone who advises him to take the road of economy is called "bullshit", which also shows his temperament.

2. Jia Baoyu subverted the gender role requirement of "men stay away from women"

In the traditional norms of gender roles, boys are taught from an early age to be different from girls and to keep a distance from women. If a "mature" man hangs out with women all day, he will be considered "worthless" and addicted to making out with children.

Jia Baoyu ignored all this. He hangs out with girls all day, which is actually the main content of his life. In Shi Xiangyun's words, it is: "Your adults are only in our group." And xiren also said in Thirty-four Chapters: "He made a lot of trouble in our team." So Grandmother Jia said, "A girl must have miscarried."

Men should have men's things to do, and what things are naturally seeking fame. But Jia Baoyu is interested in what girls do. This may be because of his sense of gender equality.

An important part of traditional male social gender role is male hegemonism, and men are superior to women.

This "authority". At the time when Jia Baoyu lived, men were masters of society, and women were slaves, despised and enslaved.

Baoyu has the respect for women required by male liberation. He once said: "It turns out that man is the soul of all things, and all the beautiful scenery of mountains, rivers, the sun and the moon is only for his daughter, and the man with a beard is just scum." He even thinks that "men are flesh and blood made of mud and women are flesh and blood made of water". Men's world is like Abalone City, while women's world is like Lan Zhi's room.

His concept of equality in communication with women and his love for women are all shown in many details. On the 21st time, Baoyu washed his face with Xiangyun's water, which is absolutely not allowed by the traditional "big man" image. For women with low social status, Baoyu does not have the concept of superiority or "master" as a man. For example, Qingwen loves to eat tofu skin buns, so she deliberately keeps them for her to eat, and covers her hands when it is cold. Another example is the twentieth time, Baoyu made a scorpion for Musk Moon; Another example is Fang Er combing her hair. Baoyu "hurriedly ordered her to put on makeup, and also ordered her to shave off the short hair around her, revealing a blue scalp." These details can be seen in his delicate care for women.

3. Jia Baoyu challenges the role of "masculine man"

China's traditional gender roles clearly define the differences between men and women, and the masculinity of men corresponds to the femininity of women.

Soft. "In order to shape this different gender image, there are differences between men and women in the content of childhood games, but Jia Baoyu wants to break this difference. The sixty-second time, Xiangling and others mowed the grass. " It happened that Baoyu saw them fighting grass and found some flowers to play with. "This kind of girl's game, I'm afraid only men like Baoyu will be keen to participate in the second government of Rong Ning.

Love of beauty has always been a woman's patent, and men's love of beauty will be regarded as "sissy" and despised. But Jia Baoyu likes to wear exquisite embroidered bags and beautiful clothes. Look at the description of Jia Baoyu's first appearance in the third episode: "His face is like Mid-Autumn Festival, his color is like the flower of spring dawn, his eyebrows are like ink painting, his face is like peach petals, and his eyes are like eyes." Laugh when you are angry, and be affectionate when you are angry. " It's a template for feminization. As for liking to eat girl rouge, it is even more feminine to the extreme.

The song "Baoyu Buries Flowers" is full of femininity, which can also be said to be full of "duality": Baoyu "dug a hole with the branches of the couple Hui and Bing Di Mausoleum just now, first caught some fallen flowers to pave the way, reconciled these mausoleums, then covered up some fallen flowers and buried them in plain clothes." This move is a replica of Lin Daiyu's funeral.

Jia Baoyu is recognized as a son who values affection and righteousness, which is not allowed by the masculine image of men and is another betrayal of Jia Baoyu's traditional male gender role. As for Jia Baoyu's love of crying, because it can best reflect the androgyny concept of male liberation, I will talk about it later.

4. Jia Baoyu neglected the gender modeling of "mature and steady man"

Today, a "mature and steady" and "mature and steady" man is still an "ideal man" under the requirements of gender roles.

Baoyu's "slandering monks and destroying Taoism", in the words of xiren, means "speaking without taboo" This kind of temperament is free and easy, and it is also an ideal in the eyes of male liberators.

5. Baoyu rebelled against "a friend of a gentleman"

Under the traditional gender role, the deep friendship between men is bound. Confucian culture pays attention to "a friendship between gentlemen is as light as water".

Based on the concept of male liberation, this avoidance of intimate friendship between men is rooted in the masculine image of men, who are considered extremely strong and can bear all the heavy shackles alone. Affectionate, sweet and intimate communication will make men look too affectionate and damage their image as "tough guys", so close friendship like that between women is forbidden in men's world. In addition, the distance between men also stems from "homophobia", that is, men who are afraid of being too close to each other will be considered gay partners by others.

Male liberators believe that homophobia hinders male unity and friendship, so it is necessary to get rid of it. Just as feminists advocate the establishment of deep "sisterhood" between women, male liberators also advocate the establishment of the same deep "brotherhood" between men.

Jia Baoyu never wanted to play "tough guy". He subverted this ideal male image and also subverted homophobia.

The "brotherhood" between Baoyu and Qin Zhong is profound. When he was named Jin, "the two places with him were very busy recently, and everyone was very proud." He is the only one who regards it as nothing and never cares. So everyone laughed at him for being more and more stupid. " Why not? Because Qin Zhong's father died, and Qin Zhong is dying. His close relationship with Jiang Yuhan, Liu Xianglian and others highlights his friendship with the same sex.

In fact, the "homophobia" effect put forward by male liberators has already appeared in A Dream of Red Mansions. For example, when Baoyu and Qin Zhong fell in love with each other for the seventh time, "they can't blame their classmates for being suspicious".

In fact, Jia Baoyu's relationship with the same sex only stays at the level of friendship, not homosexuality. Therefore, Pan and Xue

Different from Qin Zhong and Xiang Lian's "winking and whispering", it is also quite different from Jia Lian's "choosing a handsome boy among the pages for the time being". Throughout A Dream of Red Mansions, although there are many descriptions of homosexuality, even those suggestive statements in Chapter 15 seem to have only layers of suggestive homosexual games, rather than real homosexual relationships.

Jia Baoyu's Crying and Sexual Temperament

In A Dream of Red Mansions, Jia Baoyu shed the most tears except Lin Daiyu. Lin Daiyu's crying can be understood from the feminine side of women, while Jia Baoyu's crying will be rejected because it does not meet the requirements of male gender roles. Liu Xianglian became a monk in A Dream of Red Mansions. Xue Pan went to look for it, but he couldn't find it. He came back and said, "I'm not afraid of your jokes. I can't find him, I cried. " It can be seen that men crying is really a "joke".

The ideal man in traditional society is strong, and "a man can't cry lightly" is the most direct embodiment of the social requirements for us. Male liberalism questioned the orientation of this gender role, arguing that crying is a natural reflection of physiology and a process of self-healing. Men have the same nervous system as women. Why can't we cry when we are sad? Men cry when they have tears.

The first 80 times explicitly mentioned Baoyu crying, reaching 19 times, all of which were rendered, which was unique among men in the book. Baoyu cried, and many people around him felt incredible. Xifeng called him "mother-in-law", but when we carefully study why he cried, we will find that the law is very obvious.

Jia Baoyu cried for the first time, and for the third time, because he heard that Lin Daiyu didn't have jade, he "suddenly went crazy, picked the jade and threw it hard ... Baoyu cried with tears all over his face:' There are no sisters at home, only me, so it's boring; Since there is no such a fairy-like sister, that is not a good thing. ""In the final analysis, this is because the girls cry, because Lin Daiyu cries, because they are different from these "people made of water", and they cry because they are not satisfied.

The second time I cried was the eleventh time. When I heard Qin tell me that "I may not last for the New Year", "tears flowed out unconsciously." Xifeng said, "Brother Bao, you are really a mother-in-law."

The third time I cried, I said, "When Qin Zhong died, Baoyu wept bitterly." It is reasonable to cry because of death. It is clear in the book that Baoyu only cried twice because of it, that is, Qin Keqing and Qin Zhong. The former belongs to a pure woman in Baoyu's eyes, and the latter is his close friend. Thirdly, crying related to death is dreaming of Qingwen's death and crying. When Jia Jing, who belongs to the rank of "smelly man", died, everyone cried bitterly, except Baoyu. On the day of the funeral, "the grandmother was not well yet, leaving Baoyu to wait on her at home", which showed that there was another opportunity to cry and "teach by example".

This shows that Baoyu's tears are mostly for women, mostly for things that are not worth crying. Of course, the most let him cry or Lin Daiyu:

The 22nd time, I cried, because Daiyu was so temperamental and emotional.

On the 28th time, Daiyu "felt no tears".

The twenty-ninth time, I cried again because of Daiyu; At the same time, because they heard that "it's not that enemies don't get together", the two men "burst into tears" respectively.

The thirtieth time, "Baoyu has infinite worries in his heart, but he also said something wrong and is regretting it;" When I saw Daiyu poking him again, I couldn't speak, sighed and cried. I felt something myself, and I couldn't help crying. "

In the fifty-seventh episode, Zi Juan tricked Baoyu into saying that Daiyu was going back to the Lins' home in the south of the Yangtze River. Baoyu was "thundering from the top of his head" and "dull, sweaty and purple all over his face", but he couldn't cry, just in a daze. Back to the room, "my eyes are straight, and body fluid is flowing out of my mouth, so I can't feel it." Until "I saw Zi Juan, Fang sighed and cried." This is easy to cry, cry and make noise. When I sleep at night, I often "wake up from my dream, either crying that Daiyu has left or someone has come to pick me up."

The sixty-fourth time, Baoyu went to see Lin Daiyu. When he saw Daiyu's face covered with tears, he felt uncomfortable, thinking about her feelings and worried that she would make mistakes. "Tears have already rolled down."

If it is understandable to shed tears because of Daiyu, who has a crush on me, then on the 43rd trip, when I entered the water temple and saw the clay sculpture, I felt "stunned" and "shed tears unconsciously". There is only one explanation for crying over clay sculptures. Baoyu really regards clay sculpture as a goddess of Luo, and it is a young woman who cries like this.

Nineteen times, xiren told Baoyu that he was leaving, and Baoyu's face was covered with tears.

The forty-fourth time, I felt sorry for Pinger's fate. "I was sad again, and I didn't feel tears."

Back to the 57th time, "Huizijuan's love talk tries to help jade, while Tzu Chi's love talk comforts delusion", at first, he worried that Fine was cold and "reached out and touched him", but Fine told him "don't touch him". It is disrespectful to be a sophomore in one year. ""As he said this, he got up and went into another room with a needle and thread. ""(Baoyu) lost his soul in an instant and didn't know anything in his heart. He just lost his mind sitting on a stone and didn't feel tears. "

Back to the fifty-eighth session, I chose my husband for the fruitless branches and cigarettes of the apricot tree, which is also "only weeping and sighing for the apricot tree".

When Second Sister You died, "Baoyu had come to cry".

Mrs. Wang drove Qingwen, Fangguan and others away. "Isn't it sad that she fell on the bed and began to cry?"

To see Qingwen, Qingwen was ill in bed, "because she came over with tears and reached out and gently pulled him."

Xue Pan married, but Baoyu was "worried about Xiangling", which made Xiangling treat him coldly. "Baoyu didn't feel lost when he saw him like this. He stood for a long time, thinking about it and not crying."

To sum up, Baoyu only cries for his daughter and often cries for his distance from the girls. He loves to cry, but he doesn't show weakness. For example, when he was in a group in the ninth school, he not only didn't cry, but also was very manly. Therefore, crying here has become an important means for Cao Xueqin to shape Jia Baoyu's character.

We also need to notice that most of Baoyu's crying in Cao Xueqin's works are very feminine crying methods, such as "rolling down tears", "dripping tears" and "sighing with tears", which are consistent with Jia Baoyu's overall image and reflect his characteristics as a "facultative" image.

In the sequel, Gao E clearly realized Cao Xueqin's use of "crying", so he also wrote 19 times Baoyu's crying in these 40 times, which is equal to the total number of the previous 80 times. There are both the true meaning of Cao Weng and some exaggerated failures. The truth is that most of the crying is women, which makes them cry almost all over the twelve women in Jinling; The failure lies in Gao E's writing about crying, mainly including "crying aloud", "crying her eyes out" and "crying her way out". , too simple, to a certain extent, damaged the image of Baoyu.

We can see that crying for Lin Daiyu is still an important theme, but obviously there is no "level" in crying. Knowing that Lin Daiyu was dead could have been a more wonderful crying scene, but Gao E wrote: "Baoyu couldn't help crying and fell on the bed." . After crying, it means "crying for a long time", and the sentence "Baoyu always cries sadly" means crying for a long time. I went to the chic pavilion to see Lin Daiyu's pavilion wood. "Baoyu cried her eyes out, and everyone helped to rest." Baoyu cried again, choked with anger and his throat was dry. This is a very important cry. Although it is very sad, it is obviously inferior in literary skills compared with the article written by Cao Xueqin in the fifty-seventh session, which is also crying because of Daiyu. After that, he wrote several times that he was crying for Daiyu.

Gao E also wrote that Baoyu was crying for another woman.

The eighty-first time, he "burst into tears" for the suffering of the Spring Festival; For the hundredth time, Baoyu heard Aroma and Baochai talk about Tanchun's marriage and "cried on the kang"; For the 106th time, Baoyu saw that Baochai was "worried about her brother and mother, and it was rare for him to laugh day and night. Now seeing him heartbroken, my heart is even more unbearable, and tears are streaming down my face. "

These "cries" make people feel too thin at first glance. They lack the facultative temperament of "tears", which is not conducive to the complex character of the characters.

By the first time 107, "Baoyu has never experienced such a big storm. People who only know happiness and don't know troubles are crying now. He is worse than a fool. He cries when others cry. " This is a failure, because Baoyu in Cao Xueqin's mind is not a person who cries with others, but a person who cries without others. ...

Baoyu loves to cry, which is extremely contrary to the image of "ideal man" and embodies the temperament of traditional female roles. But it is precisely because of this total of ***38 cries that Jia Baoyu depicts an important aspect of abandoning traditional gender roles, which is consistent with his girlish temperament and his love for girlish companionship.

The attitude of people around Jia Baoyu towards male liberation tendency

When human liberation is put forward as a theory today, there are still many opponents all over the world. Traditional gender roles enslave people deeply. It completes the internalization of ideas and becomes a part of our conceptual world. We were enslaved by it without realizing it, thinking it was our own choice. In this way, many women who hold the old gender view will feel that the liberated men do not conform to their ideal image of "good men".

In Jia Baoyu's life, almost all of them were such opponents. Needless to say, Jia Zheng, the representative figure of traditional male gender roles, including, Xue Baochai, Feng, Xiren and others, is also such an opponent.

In the book, Baoyu was accused of being a "mother-in-law" twice, once because he cried in front of Qin Keqing's hospital bed and once because he attacked others. Baoyu thought that the begonia flower died of Qingwen's illness and thought it was a fulfillment. Aroma laughed at him: "I can't stay, and I can't stay. You are too kind to your mother. In this case, is it the person you study? " Reasoning according to xiren's words, women can understand the same words, but men say it's "mother-in-law". The word "mother-in-law" itself has a derogatory meaning and is also a contempt for women. Here, the contempt for men is accomplished by classifying men as women.

When Baoyu buried the flowers, Xiangling saw it and said, "What's it called again? The Taoist priest says that you are used to worshipping ghosts, which makes people sick. " "Disgusting", like "mother-in-law", is used to refer to a feminine man.

The thirty-fifth time, Baoyu was embraced by the mouths of two old women: "Often, when no one is around, you cry and laugh;" When you see a swallow, talk to it. When you see fish in the river, you talk to them. When I see the stars and the moon, I sigh and groan, that is, I mumble. "

The sixty-sixth time, he borrowed Xing Er's words and said, "He has grown so big, but he has never been to a proper school. From our ancestors to Sir Zhong, there is no one in our family who is not a cold window for ten years, but does not like reading. -I don't study literature every day, nor do I study martial arts every day, afraid of meeting people. I just like to make trouble among girls. Besides, it's not just soft. Sometimes when we meet, we can't get on if we like it, and everyone is confused for a while; I don't like walking apart, and he ignores people. We sat and lay down, we ignored him, and he didn't blame us. So, no one is afraid of him. Just be casual and get by. " It can be seen that Jia Baoyu's image as a male liberator is opposed not only by the upper class but also by the lower class, not only by women but also by men.

Baoyu's rebellion is most concentrated in his abandonment of official position. Shi Xiangyun heard Jia Baoyu say that he didn't want to see Jia Yucun, and once advised him, "Let's not change our feelings. Now that I'm old, I don't want to study for a scholar. You should often meet these officials and butchers, talk about some knowledge of benevolent government and economy, or associate with the world in the future and have a friend in the future. " Who knows that Baoyu has no face at all? "Miss, please sit in another sister's room. I have carefully polluted your knowledge of economics here. "

Jia Zheng is a model of traditional male gender roles. He is keen on official career and pursues "success", which is also reflected in his father-son relationship with Baoyu. China's traditional patriarchal culture worships the image of strict father, and it is appropriate to call Jia Zheng "strict father". He beat Baoyu, not only because he was too lazy in his studies, insulted his mother and servants, or was afraid of being hurt by "running away from home", but also because he was "not generous at all" and "wandering around the world", which was detrimental to the traditional male sex behavior.

Lin Daiyu is the only one who can truly understand Jia Baoyu's tendency of male liberation in Rong Ning. It was that time that Shi Xiangyun advised Baoyu to "talk about the knowledge of official career economy", and Baoyu said: "Sister Lin never said such a bastard; If I had said this, I would have separated from her. " When Daiyu overheard this sentence, she was "overjoyed" and thought, "I really have a good eye. I used to recognize him as a confidant, and I really know myself. " It is this kind of "nonsense" that is the basis for Baodai to establish a love relationship. This is not to say "nonsense". In fact, their attitudes towards traditional male gender roles are the same. Baochai, Xiangyun and Daiyu are all suitable candidates for Baoyu's wife, but the first two advised him to find a job, and only Daiyu indulged him in "adjusting fat and powder". If Baoyu doesn't love this person, who will he love?

Lin Daiyu not only supports Baoyu's "male liberation", but also is an opponent of traditional female social gender roles, which can be seen from her attitude towards Xiangling's poetics. It stands to reason that Xiangling has more reason to learn poetry from Baochai nearby, but Baochai laughed at her and said, "A girl's family takes poetry as a serious matter for the learned to listen to, but laughs at it as unfilial." Lin Daiyu is helping Xiangling learn poetry. It can be seen that the orientation of women's gender role consciousness in traditional women's society is very different, and their different attitudes towards men's liberation tendency are logical.

Of course, Jia Baoyu, an emancipated mind, is the author Cao Xueqin's biggest supporter. Cao Xueqin undoubtedly shaped Jia Baoyu with appreciation, and Baoyu's image entrusted his ideal. In addition, Cao Xueqin has repeatedly revealed the consciousness of gender equality in his book, such as sympathy and praise for the lower-class women who resist oppression.

At the beginning of the first time, Cao Xueqin wrote: "It goes without saying:' Today's dust is mediocre and nothing is achieved. Suddenly, I remembered all the women that day. I carefully examined them one by one and felt that their actions and knowledge came from me. Why are my eyebrows open, if I don't have a skirt? ""Later, through the mouth of the stone, I explained the difference between A Dream of Red Mansions and other novels of gifted scholars and beautiful women: "So, I read them one by one, and I knew that they were all contradictory and unreasonable, but they were not as good as these women I had seen and heard for half my life. Although I dare not say that they are better than everyone in the previous generation, I can feel sad and bored; There are also a few awkward poems that can be sprayed with rice for wine. " In fact, this has shown the position of women in Cao Xueqin's mind, and it is more in line with the tone described in his later books. Although Cao Xueqin may not realize it himself, it still shows that his man emancipating his mind is in line with feminist thought.

At least at this point, Gao E, intentionally or unintentionally, accords with Qin Xue's idea. In chapter 1 15, it is written that after Zhen Baoyu appeared, he met Jia Baoyu, who dismissed him as "Lu Wei": "This looks the same. It's just that I don't seem to know anything during the conversation, but I'm also a nobody. " "He said for a long time, without a word of understanding, but he said something about economy and filial piety. Such people are not losers! It's a pity that he also had such a face. I want to come, and with him, I will even give up my appearance. " Baoyu betrayed the "smelly man" mode so thoroughly that he wanted to skin it.

Baochai saw him in a daze again and said, "You really said something funny. "。 How can you not want this? Besides, what people say is empty talk, which is a good thing. Being a man should be famous. "Baochai's traditional role consciousness is once again reflected here.

It should be noted that male liberators are still outside the mainstream society today and belong to the "alternative". That year, the word "many" was added. There is such a criticism in the nineteenth chapter of A Dream of Red Mansions: "This book is about a Baoyu, whose character is that we know this person in the book, but we have never met him in person. Writing Baoyu's speech is always puzzling. Baoyu's nature is ridiculous. I have never seen such a person not only in the world, but also in all ancient novels and legends. " So the book reviewer said that Jia Baoyu was "one of the ancient people." This illustrates a problem. At that time, the social trend of thought represented by Jia Baoyu was in a state of "grass color is close but not close"

Significance and potential of redology research from the perspective of gender equality and male liberation

As for Jia Baoyu, previous studies on A Dream of Red Mansions mostly emphasized his class rebellion. Here we try to examine and interpret it from the perspective of gender role rebellion, especially the latest male emancipation thought. Although class treason and gender treason are sometimes staggered, in many cases they can be interrelated, mutually generated and unified.

First of all, gender role is the definition of a cultural concept. We know that the definition of any cultural concept inevitably bears the color of class and bears the brand of the times and class. Social gender concepts such as male superiority and female inferiority, male superiority and female inferiority are also a means for the feudal ruling class to control the people. Rulers throughout the ages, while maintaining power and dictatorship, often rely on a set of "ethical norms" including gender roles as an auxiliary means. For a democratic society, humanism should be respected, everyone has inherent equal rights, and gender equality conforms to the ideal of social progress.

Secondly, gender role norms are equally mandatory for individuals. It can be said that the rules and regulations of gender roles are also a kind of contempt and deprivation of individual uniqueness. By strengthening these constraints, it is enough to control individuals within the established unified norms and make their individuality unable to play until they are completely annihilated. Therefore, the excessive reinforcement of gender role model is also a kind of slavery and exploitation.

Jia Baoyu's betrayal is the unity of class rebellion and gender role rebellion, which determines the thoroughness of his betrayal and makes his characters more vivid.

Introducing the perspective of male liberation can give us a deeper and more comprehensive understanding of Jia Baoyu. For example, Jia Baoyu's crying discussed in the last section, and many of Jia Baoyu's behaviors and performances that were regarded as femininity by the mainstream society at that time, sometimes it is difficult to get a very impressive answer if we simply interpret them from the perspective of class rebellion.

Take Jia Baoyu's attitude towards men as an example. In A Dream of Red Mansions, the main tone of Jia Baoyu's attitude towards men is antipathy. The reason why he is in close contact with Qin Zhong and others is because in the past, according to the viewpoint of class betrayal, red scholars explained that all the men that Jia Baoyu didn't like were upper-class people, while his friends lived at the bottom. With the only exception of King Beijing, some scholars quoted Jia Baoyu's friendship with King Beijing as quickly becoming indifferent. If we take gender betrayal as the starting point, we will find that Jia Baoyu's male friends, including King Bei Jing, are all handsome young men. Jia Baoyu's love for them shows men's appreciation of the handsome same sex, which is not based on sex. In the traditional concept of gender, women's appreciation of the beautiful same sex is recognized and understood, and the same thing happening to men is considered inconceivable, or will be immediately associated with homosexuality. Therefore, introducing the perspective of male liberation will help us fully observe the inner world of the characters and make further in-depth thinking on some issues.

If we use the gender role theory to comprehensively interpret A Dream of Red Mansions, we will make many important discoveries. It can be said that the awareness of gender equality runs through the book. Because of this, we have every reason to say that Cao Xueqin is a great writer with preliminary feminism and male emancipation.