Appreciation of Environmental Description in A Dream of Red Mansions

Appreciation of Environmental Description in A Dream of Red Mansions

Appreciating the environmental description in A Dream of Red Mansions, reading can change a person. If you don't understand this question, you can look it up in your notes. A Dream of Red Mansions, one of the four classical novels, can enrich our knowledge by absorbing the knowledge in the book. Appreciating the environmental description of A Dream of Red Mansions may bring you different thoughts.

Appreciation of the environmental description of a dream of red mansions 1 1. The eleventh time in A Dream of Red Mansions describes the autumn colors of Ningguo Mansion: yellow flowers are everywhere and Bai Liu is oblique. The small bridge leads to Ruoyexi and the winding path leads to the rooftop. The clear water in the stone is surging, the hedge is fragrant, the red leaves on the tree head are flying, and the forest is picturesque. The west wind suddenly tightened and the warbler stopped. When the sun is warm, slang is added.

2. The seventeenth chapter of A Dream of Red Mansions describes the scenery of the Grand View Garden: looking forward, I see white stones, which are like ghosts or beasts, arched vertically and horizontally, covered with moss, and the narrow paths are slightly exposed.

3, "Dream of Red Mansions" The 45th Night Rain in Xiaoxiang: Before sunset, the sky changed and it began to rain. In Qiu Lin, it was raining or raining, and it was already dusk. The sky is dark and gloomy, and with raindrops and bamboo tips, it is even more desolate.

Extended data

Lin Daiyu entered Jia's house.

The description of characters and the description of environment are intertwined, and they complement each other with nature.

Jiafu is a typical environment in the novel, which is described through Lin Daiyu's eyes:

1, gorgeous appearance:

In Lin Daiyu's eyes, the Jiafu Building, which is located in a bustling market and crowded with people, is "big" only by its appearance: there are two big stone lions squatting in front of the door; The gate is the gate of three animal heads; There is a plaque above the main entrance with five big characters written on it. The word "big" not only shows the grandeur and richness of Jiafu architecture, but also implies its prominent and noble social status.

2. Pay attention to the layout:

The architectural layout of Jiafu is very particular. For example, in the main courtyard where Grandmother Jia lives, there is a hanging flower door with verandahs on both sides, and an empty hall with a marble screen, which is both solemn and noble.

Even Jia She's residence, although not like the first lady's, also has the instrument door and veranda as the background. As for the five main rooms of "Rong Xi Hall", they are surrounded by instrument doors, wings, halls and aisles, which is more magnificent.

3. Luxurious furnishings:

The description of Jia Fu's luxurious furnishings mainly focuses on "Rongxi Hall": First, the plaque in the hall is introduced in detail with close-ups. Whether it is the texture and design of the plaque, the specifications of the big characters on the plaque, or the inscription and seal on the plaque, it shows the social status of the owner.

The big rosewood carving case, the green bronze tripod, the Mo Long painting, the golden screen, the glass box, the nanmu chair and the ebony couplets inlaid with carved silver characters all show the owner's wealth and luxury.

Even the furnishings and utensils in the ear room are quite luxurious: foreign coffins, backrests, pillows and mattresses are all decorated with dragons and pythons, and small, fragrant boxes, wine glasses, tea bowls and even sputum boxes have their own characteristics. The level of food and clothing is indeed "different from other families."

Appreciation of environmental description in A Dream of Red Mansions II. During this time, Jia Fu, as the daily residence of the main characters in A Dream of Red Mansions, showed people positively for the first time. Many main characters in the book appeared for the first time, and Baodai also met each other for the first time, so the third time can be said to be an important part of the preface of A Dream of Red Mansions, and all three elements in the novel appeared at this time. This time I want to mainly talk about the third environmental description. The so-called typical environment actually serves to portray characters. It is not only the place where people's activities and stories take place, but also shows the style of the times, social system, class status and the relationship between people. Everyone lives in a certain social reality, and a specific typical environment produces a specific typical character. Shaping a typical character in a typical environment can show the social foundation and social significance of producing a typical character.

Daiyu's mother came to Jiafu at the invitation of her grandmother Shi Taijun. Before this, Jia Min once said to Daiyu, "Your grandmother's family is different from other families." Now Daiyu has to rely on others, always be careful and pay attention everywhere, for fear of being laughed at by others. Therefore, during my first visit to Jiafu, I observed it very carefully. The difference between Jia and Fu is shown through Daiyu's eyes. Lin Daiyu can be said to have a good background. Her father, Lin Ruhai, was a criminal record detective. Later, he worked as a doctor in Lantai Temple and was appointed as a salt inspector in Yangzhou. Besides, his ancestors are hereditary. This background definitely carries weight. Otherwise, how could Jia Jia marry her only daughter to Lin Ruhai? Therefore, it is very clever for the author to show readers this typical environment through Lin Daiyu's eyes. On the one hand, Daiyu is not a government official, and she can see the difference at a glance. Secondly, Lin Daiyu was born in a famous family and has seen the world, so this difference is more convincing from her eyes. Then let's see what's the difference between Jia's house in Lin Daiyu's eyes.

When Daiyu first saw the gate of Ningguo Mansion, this difference was revealed. Look at what is written on the gate:

After walking for a long time, I suddenly saw two big stone lions crouching in the north of the street, three animal head gates, and a dozen people sitting in front of them. The main entrance is not open, only the east and west corner doors enter and exit. Above the main entrance, there is a plaque with five big characters written on it: "Building Ningguo Mansion".

As soon as Jia Fu appeared, he showed his unique majesty. Ordinary people's door is just one door, but Jia's house is three animal heads. There are as many as a dozen servants in front of the door, and they are all beautifully dressed-even the servants are beautifully dressed. You can imagine how luxurious the yard behind this door is. But what is more distinctive is the plaque. What does "made" mean? The emperor ordered the construction. It turns out that Jia's house was built by the emperor himself. In feudal society, the word "made" is enough to show the aristocratic status of Jia's family, and the majesty of that gate is the embodiment of Jia's aristocratic status.

Then follow Dai Yu to Guo Rong Tower. The three gates of Guo Rong Building stand tall like Guoning Building, but Dai Yu came in through the west gate. The bearers carried away the "land of a beat" and did not reach the owner's residence, which is enough to show how grand the building scale of Jiafu is. Finally, I got off the sedan chair. After the hanging flower gate, I saw the handwritten veranda, the marble screen with rosewood shelves, and the first courtyard behind the three small pavilions, all carved with beams and painted buildings. Birds such as parrots and thrushes hang on both sides of the veranda. Seeing this, we can basically understand a situation. Jiafu's buildings are large in scale and complex in structure. Carving beams and painting buildings, copying verandahs, is both grand and meticulous. You can see their differences from this building alone.

What is the situation of such a yard? We can see clearly from the meeting between Daiyu and her two uncles.

Of course, the first person to visit is my uncle, but Ning Guofu is sketching here, so I will skip it for the time being. But from the details of going out by car, it can be seen that Master Jia's life really reveals luxury everywhere. You want two adjacent courtyards to go out by car, one is to see the size of the Jia family, and the other is to show a luxury in living habits.

Then I went to see my second uncle. Jia Zheng is the master of Guo Rongfu. When I went to Guo Rong Building, I took a bus, got off the bus and turned the east and west halls.

There is a Yimen Courtyard behind the South Temple, with five big first rooms on it. The wing rooms on both sides of the deer's top wing are drilled into the ravine, extending in all directions and imposing, which is different from that of Jia Mu. Daiyu knew that this side was a serious inner room and a big Yong road, so she went straight out of the gate. When entering and leaving the hall, I looked up and saw a big plaque on the red, gold and green land in Kowloon. There are three big characters written on the plaque, namely "Rong Xitang", followed by a line of small characters: "One day, the book was given to Rong Gong Jia Yuan" and "tens of thousands of treasures of Chen Han". In the case of red sandalwood carving, there is a three-foot-high bronze tripod, and a big painting is hung in Mo Long, with gold art on one side and glass on the other. There are sixteen nanmu chairs underground, and there is a couplet, which is an ebony couplet with silver characters. The way is: the pearl shines on the seat, and the haze shines in front of the hall. The next line of fine print reads: "My compatriot's brother attacked Wang Mushu in Dong 'an County in calligraphy".

Cao Xueqin described Jia Zheng's furnishings in great detail here. Jia Zheng is the master of Rong Guo mansion. Everything in the main room shows how noble the master's position is. The plaques given by the imperial court, the silver couplets given by the county king, the bronze tripod and Mo Long's big paintings are not comparable to ordinary bureaucrats. It clearly shows the demeanor of princes and generals, and these luxurious furnishings reveal a kind of majesty and dignity.

From these descriptions, we can see that Jiafu's buildings are large in scale, complex in structure and extremely noble in owner's position, but the typical environment contains more than these, besides the specific space environment, it also reflects the style and features of the times, social system, class status and the relationship between people. So, what is the class situation and interpersonal relationship of Jia family? The third time, the people Lin Daiyu met in Jiafu can basically be divided into two categories, one is a slave and the other is a master. It can be seen from the process of entering the Jia family that the hierarchy of this mansion is very strict. What is written in the third chapter? "These third-class domestic servants he recently saw" and "He named a second-class servant girl around him Ying Ge and Daiyu", indicating that the hierarchy is not only between slaves and masters, but also between slaves. Why did Daiyu change bearers when she first entered Jiafu? Inferior slaves are not allowed into the inner court. So when we first entered Jia's house, we saw many different women, maids and servants. Some of them listened to their masters' personal orders, while others could only stand by and watch the front yard. So, is there such a grade difference between master and master? Let's take a look at the plot description of Jia Mu Give Food.

Then I went into the back door, and many people were waiting here. When Mrs. Wang came, the tables and chairs had been installed. Jia Zhu's wife, Lee, takes the rice, while Xifeng and Mrs. Wang take the soup. The old lady sat alone on the sofa with four empty chairs on both sides. Xifeng hurriedly pulled Daiyu to sit in the first chair on the left, and Daiyu was very reluctant. The old lady smiled and said, "Your aunt and your sister-in-law don't eat here. You "yes. Jia mu ordered Mrs. Wang to sit down. Yingchun three sisters came to their seats. Yingchun's right hand comes first, Tanchun's left hand comes second, and Xichun's right hand comes second. Next to the maid insisted on dusting, washing dishes and wiping handkerchiefs, while Li and Feng stood beside the case. Although there are many daughter-in-law maids waiting outside, she didn't even hear a cough. She became silent. The prescription does not hurt the spleen and stomach. Today, Daiyu saw that many things here could not be put at home, and she wanted to change them one by one, so she took tea. Seeing someone holding mouthwash again, Daiyu also rinsed her mouth. When she was in a hurry, she brought tea for her to eat. The old lady said, "Go ahead and let's speak freely." Mrs. Wang listened.

As can be seen from the description in this paragraph, these people are the owners of this yard, but they seem to be servants when grandma eats. Isn't the grade difference here obvious? And while eating, although there are many daughter-in-law maids waiting outside, there is no smell of coughing. Mrs. Wang is Jia Zheng's wife and can be said to be the hostess of Guo Rongfu, but her grandmother stood up at once. It serves to show the big rules of the Jia family. This strict hierarchy is an indispensable part of the Jia family. Without these rules, the Jia family would not be any different.

Then, through Dai Yu's eyes, I can see the dignity of Jia Fu's owner, the grandeur of architecture, the luxury of furnishings and living habits, and the strict hierarchy, all of which are the differences of Jia Fu. What the author conveys to us with such a typical environment is actually the degeneration behind luxury, majesty and dignity, and the essential class opposition in the strict hierarchy. People who live in such an environment will have distinct personality characteristics and life experiences.

Appreciation of the environmental description in A Dream of Red Mansions III. A Dream of Red Mansions has distinctive national characteristics in the description of natural environment. From material selection to expression methods, it embodies national psychology, appreciation habits, artistic interest and aesthetic point of view, inherits the traditional techniques of classical novels and poems and paintings, and makes some innovations. In particular, it absorbed some artistic experience of classical poetry and played a new role in exquisite artistic conception. In content, not only the natural environment of the whole work has formed a unified tragic artistic conception, but also many specific descriptions are poetic, profound, implicit and memorable. Formally speaking, many places are described by cutting poems. Some languages are transformed from poetry, while others praise the natural scenery directly in the form of poetry. In a word, the author has formed a unique style on the basis of inheriting the artistic tradition of classical poetry, which is worth learning today. Recently, Yu Pingbo's viewpoints and methods of studying A Dream of Red Mansions have been criticized in newspapers and periodicals, and we classical literature researchers should pay special attention to them. Only when everyone participates in the discussion and eliminates the wrong bourgeois ideas can we promote and improve the research of literary heritage.

Almost as soon as A Dream of Red Mansions was born, the so-called "Dream of Red Mansions" appeared. In A Brief History of Chinese Fiction, Mr. Lu Xun pointed out: Yuan Mei's theory of "author's self-narration" in Suiyuan Poetry Talk is actually the first, but it is the last (250 pages) [Note1]; There are all kinds of "guesses, which take a long time." Why? Personally, this is just as Mr. Lu Xun pointed out when enumerating the human novels in the late Ming Dynasty: "In the history of this province, people who used ridicule existed in Jin and Tang Dynasties, especially in human novels" (230 pages); "Those who advocate immorality in Ming novels refer to things with each word, and report their regrets with words" (19 1 page); "The cut of ridicule, or the cut of transcendence, and the westward journey seem to focus on one person or one family" (page 230). Later, there were more and more speculations, saying that a certain prime minister, a certain duke, and an emperor abandoned their position and became a monk, took his official position, and said "the great event of the Qing Dynasty" or something else. In a word, we can see that there is a fundamental viewpoint running through it: it is related to the politics of the Qing Dynasty. Later, some people even thought that it was a national consciousness of "full of ideas and clear thinking". No matter how improper its seclusion method was, it was a development of major ideas, which was very obvious. This situation deserves attention.

When A Dream of Red Mansions fell into the hands of Hu Shi and Yu Pingbo, the spirit of the face changed. What are the main changes? Hu Shi himself said that his textual research of novels was to teach "young friends" a little "self-defense" and not to be "led by Marx, Lenin and Stalin" (preface to Selected Works of Hu Shi). It is also very obvious that Yu Pingbo tried to take away any social and political significance, making A Dream of Red Mansions just a good trick of "love".

If a young intellectual does not understand Marxism before liberation and touches on the topic of A Dream of Red Mansions, he will be captured by Hu and Yu in his textual research methods. The author himself is an example. In the book A New Proof of a Dream of Red Mansions, I compare the characters in the novel with Cao's family background everywhere, saying that the date in the novel coincides with the author's real life and that the novel is a "carefully tailored life record", which is the most prominent proof. This is of course because when I was writing a book, I mainly wanted to emphasize the proof of Mr. Lu Xun's "realism" and "self-narrative" theory, so as to destroy the profound theory with considerable potential at that time; However, due to the misunderstanding of realism and the profound influence of Hu Yu's methods, the result is actually to guide readers to deepen their misunderstanding of A Dream of Red Mansions. However, it is not my goal to lead the study of A Dream of Red Mansions from the combination with social politics to the separation from social politics. On the contrary, I just want to try to find the social and political significance of A Dream of Red Mansions on the basis of my limited knowledge theory, and combine it with social politics more closely. I am firmly opposed to treating A Dream of Red Mansions, a great classical realistic novel, as a tool for some people to anesthetize young people and as a boring object for some people to be "stubborn".

As we know, "classical art is usually produced on the basis of the contradiction of social and economic system, but it does not defend this system as usual." The best works of art mainly appear in the transitional era, that is, the era related to the great social changes. Therefore, classical art is always opposed to all old, decadent and reactionary things in one way or another, to hypocrisy and evil in society, and to decay and bad atmosphere. "[Note 2]

Therefore, to study A Dream of Red Mansions, we must first understand the contradiction of social and economic system in Cao Xueqin's time, his own life reality, his creative method of developing the previous artistic tradition with the spirit of realism, and the relationship between this creative method and his world outlook. Otherwise, it is impossible to deeply study and study Cao Xueqin's creative methods and artistic achievements. However, so far, our understanding of these issues is extremely limited.

Simply put, what is the social and political background of A Dream of Red Mansions?

We know that there are many contradictions within the ruling class, and the feudal emperor stands at the tip of these contradictions, and he urgently needs his minions and ears to consolidate his throne; Some of these minions were his closest minions, and they directly influenced the politics at that time: Wei Zhongxian, the eunuch of the Ming Dynasty, and Hakka, the wet nurse, were the best examples. In view of this, in the early Qing Dynasty, eunuchs were laid off and the Office of the Interior was set up [Note 3], so the coat of the Office of the Interior (imperial slaves) mastered all the deacons in charge of eunuchs. Cao Xueqin's ancestor was Manchu Tu. Cao Yin, the son of wet nurse Kangxi, is the most trusted, in charge of weaving, salt difference and water transportation. In addition to the catering bank, the income from cleaning rooms mainly comes from saltworks (annual income is about 7.52 million), and the income from Huaibei saltworks is its main project (annual income is about 3.42 million). Cao Yin and others can get 5.6 million taels of silver by running errands a year, which is amazing. This is a small part of the life of the ruling exploiters.

In this way, people are naturally participants and promoters of contradictions and frictions within the ruling class, so they form parties for self-interest and are full of tricks. As we all know, the three cronies in the Kangxi period were the official Pearl School in the Qing Dynasty, the official Xu Gan School in the Han Dynasty and the Prince Yin Si School, which were interrelated. But the Cao family is closely related to these three factions. Finally, the contradiction is reflected in the event of the governors fighting for power and profit. After the victory of Yin Si's arch-enemy Yin Zhen, it was extremely cruel to slaughter the Yin Si plaque. Cao's relatives and friends are under pressure; These people were generally dissatisfied with the politics at that time, some tried to subvert it, while others showed various forms of positive and negative resistance. Cao Xueqin's family, relatives and friends are all in such a political environment. Their fates are similar and connected.

The feudal system in Qing dynasty was strictly structured, with the Han people at the bottom. After Manchu entered the customs, a large-scale forced circle occupied the places of the Han people in Feng Jingen, and only the royal family manor, imperial clan manor and Eight Banners manor (excluding garrison farmland) as "flag production" reached167,000 hectares; In addition to the official salary, the standard-bearer also distributes food according to people, with half food for those under six years old and full food for those over six years old. This ruling exploitation group, regardless of production, idles around and eats fresh clothes and food, which is extremely extravagant; Gambling, going to the opera, singing, cockfighting and playing games are their daily lives. Cao's family is one of these people's families, and Cao Xueqin's novels expose the lives of these people.

The germination of capitalism in China appeared in the late Ming Dynasty, but it was quickly stifled by the serious feudal economy in the Qing Dynasty. Before the Opium War, the whole economy of Qing Dynasty was in a period of strict closure and feudal economic stagnation. Cao Xueqin lived in this period. He died in the 28th year of Qianlong, that is,1February 764, more than 70 years before the Opium War broke out. In other words, Cao Xueqin lived a whole century before this major historical event. Therefore, the degree and form of his works' resistance to the feudal system were also determined by the historical conditions at that time.

However, Hu Shizhi and Yu Pingbo's Dream of Red Mansions tried their best to turn it into a trick, which led readers to trivial interests and blurred the profound significance of this great masterpiece of classical realism. Yu Pingbo, who has been studying A Dream of Red Mansions for 30 years, what is his overall understanding of A Dream of Red Mansions? I thought it was a three-word answer: "unknown". 19501February, when he made a "preface" for the study of a dream of red mansions, he taught readers:

As for the problem of A Dream of Red Mansions, I often misunderstand it.

Let alone talk about it. I think this book is a "nightmare" in China's literary world. The more I study it, the more confused I feel. (I have added all the key points, the same below) (Page 2) This is Yu Pingbo's experience and summary after studying A Dream of Red Mansions for 30 years. He was puzzled by the title and author of the novel, and then he said: From this point of view, A Dream of Red Mansions is really the first wonderful book. Ordinary people like us, sighing at the ocean, where can we write? (Page 3) Therefore, Yu Pingbo thinks that this first wonderful book has an unsolvable "fundamental problem hanging". What is the "fundamental problem"? He didn't explain, I think, this is the "unknowable" that makes Yu Pingbo "more confused". Since 1953, a dream of red mansions, a typical representative work of many of his new articles, has directly inherited this view and further developed it. The introduction of "A Brief Comment" says: Why does A Dream of Red Mansions have so many marginal notes, but other novels don't happen? There must be a reason. Therefore, it is not easy to understand and explain A Dream of Red Mansions. It seems that this side will work, and there will be a wall. Yu Pingbo's understanding of A Dream of Red Mansions is such a mysterious and idealistic "agnosticism". He also promoted this experience to young readers who had high hopes for him.

Although he finally stated in the preface of A Dream of Red Mansions that "I haven't started the study of a Dream of Red Mansions", in fact, he purposely publicized his idealistic views. In the style of a dream of red mansions, he was very dissatisfied with the "excesses" of the water margin and praised the "gentleness" of a dream of red mansions. He "confirmed" the latter's "style" of "complaining without anger" or "mourning", and said that this is the most valuable feature of A Dream of Red Mansions that is superior to all old novels. As we all know, "the voice of troubled times is angry, and its politics is good; The voice of national subjugation is sad, and its people are trapped "is a poem said by the ancients." Originally, it was affirmed that the government was obedient, and the people were trapped and angry. And Yu Pingbo advocates resentment, anger can't be tolerated, gentleness and gentleness, which is the truth that "Xiaoya resents condescension without chaos", "gentleness and gentleness" and "stop at eccentricity without evil". No wonder Yu Pingbo was dissatisfied with writing about peasants' "chaos" and committed "Water Margin", which he thought was too "excessive". Yu Pingbo also said that "A Dream of Red Mansions is a very serious tragedy", but where is the "sadness"? He clearly pointed out that not only the prosperity of Rong Ning and Fu Rong declined, but also the prosperity of the zodiac ladies, which made readers feel sad. (122 page), he said: This is about the desolation behind Xifeng and the end of Jia's life. Even a big family that has flourished for a hundred years can't shelter a daughter, but turn to the old women in the countryside for help. What kind of feelings is this kind of literature! (Page 155) This kind of dialogue is very common. If it is Cao Xueqin's thought, but it is actually Yu Pingbo's thought, we can see what kind of "literary sentiment" is beyond the class when Yu Pingbo reads A Dream of Red Mansions (this word is his favorite, for example, when his opponent cursed Baochai, he said, "Use facts? ) neither conforms to nor conforms to the context "). The above can also be said to be "inappropriate" in "revising" the old draft, but look at what he really said at the end of 1950 10: Xifeng's ending was very sad and sad. (2 15) It can be seen that after the raid, Jia's people were all put in prison, including Baoyu and Xifeng. At that time, all the slaves were scattered, but some maids who were driven away knew how to comfort the Lord. It is conceivable that the situation at that time was sad. (Page 22 1) How clear! I'm afraid it's not right to say that the scale of his "literary sentiment" is "super", because if Yu Pingbo is not on the side of the feudal "master", how can he appreciate and admire these slaves who "repay kindness" and "know how to comfort the master"? Isn't Yu Pingbo's class position very clear here? Yu Pingbo's view of class is directly related to his view of bourgeois literature and art. He once said: Therefore, A Dream of Red Mansions is revolutionary in our literary and art circles. He may have such a spirit, but he may not mean to challenge society. It is because he relies on facts and is forced by circumstances. Because the facts are not all, the facts are ever-changing. Where is the fixed pattern? ..... I think the first skill of the author of A Dream of Red Mansions is that he is willing to tell the truth, just to be a fair mirror. ..... You see how dull, "Dream of Red Mansions" has become the first wonderful book in China's literary and art circles in the past. (page 120) It is clear enough: Yu Pingbo denies the objective law of real life, and a thoughtful author does not live and feel under this objective law, nor does he intend to criticize society. He just wants to be a "fair mirror" that is indifferent to the facts, and the author can't help writing. Li Xifan and Lan Ling said that Yu Pingbo is naturalistic, which makes sense. Yu Pingbo naturally denied that any social contradiction was reflected in A Dream of Red Mansions. On the one hand, he admits that "the opinions of the masses are correct after all" (a brief talk about a dream of red mansions), on the other hand, he laughs at these "masses": society likes to have opposite contrasts. The red face on the stage, you must accompany him to be the bad face. As the saying goes, "A red face is glorious in China, and a white nose is stricter than an axe. "There must be loyal and treacherous court official in the novel; ... when I was a child, when I was listening to a novel, I would eagerly ask, "Is that a good man?" Is that a bad guy? "I think this is the most important and wonderful point in the novel. The reading level of the average person in society is not much different from that of me at that time. Mr Qin Xue then played a serious joke on them. (Page 12 1) Actually, I'm afraid Yu Pingbo played a hard joke on readers who have a sense of justice in ancient and modern times and have a clear sense of love and hate. They just want to distinguish the good guys from the bad guys, and "being proud of China" and "being strict with yourself" are their most solemn judgments. I wonder what Yu Pingbo will leave them after extracting this great social significance from his works. Therefore, he opposes people denouncing Baochai's attack on Mrs. Wang and others, and then, according to a critical statement, he wants to combine the positive and negative images of Baochai, completely erase all social contradictions, and induce readers to seek some benefits from "love." He said that criticism is "particularly important" and "a new point of view" for readers, so "the three beauties should be integrated".

I think Yu Pingbo's viewpoint has nothing in common with his slogan of "further analyzing it with Marxist-Leninist literary theory". Therefore, we have reason to say that Yu Pingbo's literary view is completely based on idealism. Why did Yu Pingbo say that he knew how to treat A Dream of Red Mansions with Marxist-Leninist literary theory, but instead tried his best to criticize the agnosticism of A Dream of Red Mansions? I think this may reflect a concrete contradiction between Yu Pingbo's idealism and new things and Marxism-Leninism. On the one hand, Yu Pingbo had to get in touch with Marxist-Leninist literary theory because everyone studied Marxism-Leninism, but on the other hand, Marxist-Leninist literary theory was not in line with his idealism, so he advocated "agnosticism".