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Shi Xiangyun is one of the characters created by Cao Xueqin in A Dream of Red Mansions. She ranks among the best among the "Twelve Women in Jinling" and occupies a very important position in the complex image system of A Dream of Red Mansions. Her image has played an important role in profoundly exposing social contradictions and widely expressing her works.

"Xiangyun Judgment" says: "What is wealth? Parents were disobedient when they were babies. In a blink of an eye, Xiangjiang died of Chu Yunfei. " The verdict summed up Xiang Yun's tragic experience of being born with wealth, being longer than suffering, losing his parents since childhood, and unfortunately living a miserable life in poverty. Because her life is full of changes, her personality also changes with the change of life situation.

Because she lived in the high wall and deep courtyard of feudal rule and was imprisoned in the feudal residence like the sea, the long-term standard feudal upbringing made Shi Xiangyun accept a set of stale traditional concepts. In the paragraph "Shi Xiangyun and Maid Cuilv Talk about Yin and Yang" written in the 31st time, Shi Xiangyun thinks that "heaven and earth are endowed with Yin and Yang, no matter good or evil, strange or strange, ever-changing, they are all obedient. How many lives come out, people are rare and strange, and the reason is still the same. " When Cui Lu put forward that "everything has yin and yang since ancient times", Shi Xiangyun called her "confused" and "fart", and then went on to elaborate his own point of view: "Everything has yin and yang, can there be another yin and yang?" The word yin and yang is just one word, when yang is exhausted, it becomes yin, and when yin is exhausted, it becomes yang; It is not the exhaustion of yin that gives birth to another yang, and the exhaustion of yang gives birth to another yin. "Shi Xiangyun's macro theory highlights the depth of her suffering from feudal idealism. Exposed the essence of its feudal class.

In this sense, Xiangyun and Baochai belong to the same ideological system. When she first appeared in the front of Jiafu, she shared a bed with Lin Daiyu, but when she was invited to join the poetry club for 37 times, she was dragged to Wu Hengyuan by Xue Baochai. On the 2nd1,when she saw that Jia Baoyu wanted to eat rouge, she slapped the rouge and scolded him, "How long will it take to get rid of this problem?" From this point on, the feudal Taoist spirit of this noble girl began to appear. Then, in the tone of Xue Baochai, he persuaded Jia Baoyu to make friends with people like Jia Yucun and take the road of career economy. Xue Baochai's style of speech angered Baoyu, and immediately dismissed it as "bullshit" like Xue Baochai, embarrassing her and driving her to another room. It can be seen that in Shi Xiangyun's bones, it is still a deep-rooted feudal thought.

However, Catkin Poems at the Last Poetry Meeting, with its unfortunate experience of being dependent on others, the decline of four big families and the turmoil in the Grand View Garden, clearly shows her reluctance to the feudal class's "spring gone" and her infinite attachment and sorrow for the complete fall of Heaven.

However, the biggest change in Xiang Yun's personality was in 1976. On a bright night of the Mid-Autumn Festival that year, Jia Mu led the whole family to hold a banquet in Daguan Garden to enjoy the moon. Although they had a good time, delivering packages, drinking, writing poems and telling jokes, a cold and shabby atmosphere surrounded them tightly. Coupled with the whimpering and piercing flute from time to time, sensitive and sad Daiyu naturally felt sorry for her writing and leaned against the bar to cry. At midnight, the banquet broke up, leaving only Shi Xiangyun, who was in the same boat, to comfort Lin Daiyu. At some point, she couldn't help complaining to Baochai that she was haunted. "I hate sister Bao, and I've been saying that everyone should enjoy the moon in the Mid-Autumn Festival this year. To join a club, I abandoned us today and went to enjoy the moon by myself. " After the great changes in Jiafu, she was snubbed by Baochai and realized that Xiangyun was finally isolated from feudal forces. Together with Daiyu, she sang a desperate lamentation of the aristocratic class before the collapse of "crossing the crane shadow in the cold pond and burying the flower soul in Leng Yue". In addition, in Shi Xiangyun, we can also see a series of positive images, such as "heroic and broad", "moonlight and charming", bold and unconstrained.

As a successful artistic model, Shi Xiangyun's dialectical character thought plays a very important role in revealing the social contradictions expressed in his works.