She is also a very talented poet. Tanchun is nicknamed "Rose" for her beauty and her prickly personality. She later marries into a military family on the south sea far away from home. Shi xiangyun ( simplified Chinese : ; traditional Chinese : ; pinyin : Shǐ xiāngyún ; WadeGiles : Shih Hsiang-yun ; meaning: xiang river Clouds) jia baoyu's younger second cousin. Orphaned in infancy, she grows up under her wealthy maternal uncle and aunt who treats her unkindly. In spite of this xiangyun is openhearted and cheerful. A comparatively androgynous beauty, xiangyun looks good in men's clothes (once she put on baoyu's clothes and Grandmother jia thought she was a he and loves to drink. She is forthright and without tact, but her forgiving nature takes the sting from her casually truthful remarks.
The, story of, my, life, extra questions, summary
Baochai's golden locket and baoyu's jade contain inscriptions essay that appear to complement one another perfectly. Her marriage to baoyu is seen in the book as predestined. Jia yuanchun ( simplified Chinese : ; traditional Chinese : ; pinyin : Jiǎ yuánchūn ; WadeGiles : Chia yuan-chun ; meaning: First Spring) baoyu's elder sister by about a decade. Originally one of the ladies-in-waiting in the imperial palace, yuanchun later becomes an Imperial Consort, having impressed the Emperor with her virtue and learning. Her illustrious position as a favorite of the Emperor marks the height of the jia family's powers. Despite her prestigious position, yuanchun feels imprisoned within the four walls of the imperial palace. She dies at the age of forty. Jia tanchun ( simplified Chinese : ; traditional Chinese : ; pinyin : Jiǎ Tànchūn ; WadeGiles : Chia tan-chun ; meaning: seeking Spring) baoyu's younger half-sister by concubine Zhao. Extremely outspoken, she is almost as capable as Wang Xifeng. Wang Xifeng herself compliments her privately, but laments that she was "born in the wrong womb since concubine children are not respected as much as those by first wives.
Xue baochai ( simplified Chinese : ; traditional Chinese : ; pinyin : xuē bǎochāi ; WadeGiles : Hsueh summary pao-chai ; meaning: Jeweled hair Pin or Precious Virtue) jia baoyu's other first cousin. The only daughter of Aunt xue sister to baoyu's mother, baochai is a foil to daiyu. Where daiyu is unconventional and hypersensitive, baochai is sensible and tactful: a model Chinese feudal maiden. The novel describes her as beautiful and intelligent, but also reserved and following the rules of decorum. Although reluctant to show the extent of her knowledge, baochai seems to be quite learned about everything, from Buddhist teachings to how not to make a paint plate crack. She is not keen on elaborately decorating her room and herself. The novel describes her room as being completely free of decoration, apart from a small vase of chrysanthemums. Baochai has a round face, fair skin, large eyes, and, some would say, a more voluptuous figure in contrast to daiyu's willowy daintiness. Baochai carries a golden locket with her which contains words given to her in childhood by a buddhist monk.
She is the daughter of Lin Ruhai a yangzhou scholar-official, and Lady jia min baoyu's paternal aunt. She is sickly, but beautiful writing in a way that is unconventional. She also suffers from a respiratory ailment. The novel proper starts in Chapter 3 with daiyu's arrival at the rongguo house shortly after the death of her mother. Fragile emotionally, prone to fits of jealousy, daiyu is nevertheless an extremely accomplished poet and musician. The novel designates her one of the Twelve paper beauties of Jinling, and describes her as a lonely, proud and ultimately tragic figure. Daiyu is the reincarnation of a flower from the frame story, and the purpose of her mortal birth is to repay baoyu with tears for watering her in her previous incarnation. She dies of a broken heart after learning of the marriage of baoyu and baochai.
21 The names of the maids and bondservants are given in pinyin transcription and in david Hawkes ' translation. Jia baoyu and the Twelve beauties of Jinling edit jia baoyu ( simplified Chinese : ; traditional Chinese : ; pinyin : Jiǎ Bǎoyù ; WadeGiles : Chia pao-yu ; meaning: Precious Jade) The main protagonist is about 12 or 13 years old when introduced. 22 The adolescent son of jia zheng and his wife, lady wang, and born with a piece of luminescent jade in his mouth (the Stone baoyu is the heir apparent to the rongguo house. Frowned on by his strict Confucian father, baoyu reads Zhuangzi and Story of the western Wing on the sly, rather than the four books of classic Chinese education. Baoyu is highly intelligent, but dislikes the fawning bureaucrats that frequent his father's house. A sensitive and compassionate individual, he has a special relationship with many of the women in the house. Lin daiyu ( Chinese : ; pinyin : Lín dàiyù ; WadeGiles : Lin tai-yu ; meaning: Blue-black jade) jia baoyu's younger first cousin and his primary love interest.
Chapter 21, the, story of, my, life, extra questions, summary
Eventually the jia clan falls into disfavor with the Emperor, and their mansions are raided and confiscated. In the novel's frame story, a sentient Stone, abandoned by the goddess Nüwa when she mended the heavens aeons ago, begs a taoist priest and a buddhist monk to take it with them to see the world. The Stone, along with a companion (in Cheng-gao versions they are merged into the same character is then given annual a chance to learn from the human existence, and enters the mortal realm. The main character of the novel is the carefree adolescent male heir of the family, jia baoyu. He was born with a magical piece of "jade" in his mouth. In this life he has a special bond with his sickly cousin Lin daiyu, who shares his love of music and poetry. Baoyu, however, is predestined to marry another cousin, xue baochai, whose grace and intelligence exemplify an ideal woman, but with whom he lacks an emotional connection.
The romantic rivalry and friendship among the three characters against the backdrop of the family's declining fortunes form the main story in the novel. 18 Characters edit An 1889 Qing Dynasty woodcut print depicting a scene from the novel, where xue baochai is chasing after butterflies (Chapter 27). Dream of the red Chamber contains an extraordinarily large number of characters: nearly forty are considered major characters, and there are over four hundred additional ones. 19 The novel is also known for the complex portraits of its many female characters. 20 According to lu xun in the appendix pdf to a brief History of Chinese fiction, dream of the red Chamber broke every conceivable thought and technique in traditional Chinese fiction; its realistic characterizations present thoroughly human characters who are neither "wholly good nor wholly bad.
In 1792, Cheng and gao published a second edition correcting editorial errors of the 1791 version. In the 1791 prefaces, Cheng claimed to have put together an ending based on the author's working manuscripts. The debate over the last 40 chapters and the 17912 prefaces continues to this day. Many modern scholars believe these chapters were a later addition. Hu shih, in his 1921 essay proofs on a dream of the red Chamber, argued that the ending was actually written by gao e, citing the foreshadowing of the main characters' fates in Chapter 5, which differs from the ending of the 1791 Cheng-gao version.
However, during the mid-20th century, the discovery of a 120 chapter manuscript that dates well before 1791 further complicated the questions regarding gao e and Cheng weiyuan's involvement—whether they simply edited or actually wrote the continuation of the novel. 16 Though it is unclear if the last 40 chapters of the discovered manuscript contained the original works of cao, irene Eber found the discovery "seems to confirm Cheng and gao's claim that they merely edited a complete manuscript, consisting of 120 chapters, rather than. Some modern editions, such as Zhou ruchang 's, do not include the last 40 chapters. In 2014, three researchers using data analysis of writing styles announced that "Applying our method to the Chenggao version of Dream of the red Chamber has led to convincing if not irrefutable evidence that the first 80 chapters and the last 40 chapters of the. The novel provides a detailed, episodic record of life in the two branches of the wealthy, aristocratic jia clan—the rongguo house and the ningguo house —who reside in two large, adjacent family compounds in the capital. Their ancestors were made dukes and given imperial titles, and as the novel begins the two houses are among the most illustrious families in the city. One of the clan's offspring is made a royal Consort, and a lush landscaped garden is built to receive her visit. The novel describes the jias' wealth and influence in great naturalistic detail, and charts the jias' fall from the height of their prestige, following some thirty main characters and over four hundred minor ones.
The, story of, my, life (musical) - wikipedia
A branch of Redology, known as tànyì xué is focused on recovering the lost manuscript ending, based on the commentators' annotations in the rouge versions, as well as the internal foreshadowings in the earlier 80 chapters. Today, several manuscripts of the novel can be still found in locations in China and Europe. The "Jiaxu manuscript" professional (dated to 1754) is currently located in the Shanghai museum, the "Jimao manuscript" (1759) is located in the national Library of China, and the "Gengchen manuscript" (1760) is located in the library of the peking University. The beijing Normal University and the Institute of Oriental Studies. Petersburg both also held manuscripts of the novel dating before the first print edition of 1791. Chenggao versions edit see also: Cheng-gao versions In 1791, gao e and Cheng weiyuan brought together the novel's first printed edition. This was also the first "complete" edition of The Story of the Stone, which they printed as the Illustrated Dream of the red Chamber. While the original rouge manuscripts have eighty chapters, the 1791 edition completed the novel in 120 chapters. The first 80 chapters were edited from the rouge versions, but the last 40 were newly published.
15 Up until 1791, the novel circulated in end hand-copied manuscripts. Even amongst some 12 independent surviving manuscripts, small differences in some characters, rearrangements and possible rewritings cause the texts to vary a little. The earliest manuscripts end abruptly at the latest at the 80th chapter. The earlier versions contain comments and annotations in red or black ink from unknown commentators. These commentators' remarks reveal much about the author as a person, and it is now believed that some of them may even be members of cao xueqin's own family. The most prominent commentator is Zhiyanzhai, who revealed much of the interior structuring of the work and the original manuscript ending, now lost. These manuscripts, the most textually reliable versions, are known as "Rouge versions" ( zhī běn ). The early 80 chapters brim with prophecies and dramatic foreshadowings that give hints as to how the book would continue. For example, it is obvious that Lin daiyu will eventually die in the course of the novel; that baoyu and baochai will marry; that baoyu will become a monk.
the basis of modern spoken Chinese. In the early 20th century, lexicographers used the text to establish the vocabulary of the new standardized language and reformers used the novel to promote the written vernacular. 6 History edit textual history edit Dream of the red Chamber 's textual history is involved and complex, and has long been a subject of critical scrutiny, debate, and conjecture. Cao xueqin, a member of an eminent family that had served the qing dynasty emperors but whose fortunes had begun to decline, began composing Dream of the red Chamber during the 1740s. By the time of his death in 1763 or 1764, cao had completed the first 80 chapters of the novel and may possibly have drafted the remaining chapters. The first 80 chapters circulated during cao's lifetime in hand-copied manuscripts, first among cao's personal friends and a growing circle of aficionados, then eventually on the open market where they sold for large sums of money. The first printed version, published by Cheng weiyuan and gao e in 1791, contains edits and revisions not authorized by the author. 11 It is possible that cao destroyed the last chapters 12 or that at least parts of cao's original ending were incorporated into the 120 chapter Cheng-gao versions, 13 with gao e's "careful emendations" of cao's draft. Rogue versions edit a page from the "Jimao manuscript" (one of the rouge versions) of the novel, 1759.
1 redology " is the field of study devoted exclusively to this work. 2, the title has also been translated. Red Chamber Dream and, a dream of Red Mansions. The novel circulated in manuscript copies with various titles until its print publication, in 1791. Gao e, who prepared the first and second printed editions with his partner Cheng weiyuan in 179192, added 40 additional chapters to complete the novel. 3, red Chamber is believed to be semi- autobiographical, mirroring the rise and decline of author cao xueqin's own family and, by extension, of the qing Dynasty. 4, as the author details in the first chapter, it is intended to be a memorial to the damsels he knew in his youth: friends, relatives and servants. The novel is remarkable not only for its huge cast of characters and psychological scope, but also for its precise business and detailed observation of the life and social structures typical of 18th-century Chinese society. 5, contents, language edit, the novel is composed in written vernacular ( baihua ) rather than.
Story of my life summary - notesFun
"The Story of the Stone" redirects here. For the 1988 novel, see. The Story of the Stone (Barry hughart). For other uses, see, dream of the red Chamber (disambiguation). Dream of the red Chamber, also called, the Story of the Stone, composed. Cao xueqin, is one of China's, four Great Classical novels. It was written sometime in the middle of the 18th century during the. Long for considered a masterpiece. Chinese literature, the novel is generally acknowledged to be the pinnacle of Chinese fiction.