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关于金圣叹、张竹坡、脂砚斋点评中“犯”概念的讨论

魏其濛

摘要：《水浒传》、《金瓶梅》和《红楼梦》是明清时期极为出色的章回小说，金

圣叹等人对它们的点评水准也非常之高，并且有不少相似的观点。本文结合文本，

梳理的是金圣叹、张竹坡与脂砚斋对于“犯”概念的讨论。

关键词：犯；金圣叹；张竹坡；脂砚斋

明末崇祯年间至清初顺治、康熙年间，小说评点著作层出不穷，其中不乏精

品，如金圣叹评点《水浒传》、毛宗冈评点《三国演义》、张竹坡评点《金瓶梅》

等，这些作品的出现标志着中国古代小说评点派的形成。其中金圣叹对《水浒传》

的评点是通俗小说评点的榜样，对于明末清初评点派的形成起到了重要的推动作

用。

复旦大学王水照教授将这类小说评点归入“文章学”范畴。“文章学”在宋

代成立，内涵复杂、自成体系，金圣叹等人的小说点评在内容上当属于文术论与

品评论，即重点在评论作者描写人物、安排情节上的技巧，并将其与其他的作家

作品比较出优劣。在金圣叹的点评起到“道夫先路”的作用之后，张竹坡对《金

瓶梅》的点评在明清小说的评点历史上又是一座丰碑。从张竹坡点评《金瓶梅》

的几篇序言中的文字来看，他对金圣叹点评《水浒传》十分熟悉，可说他的点评

受到了金圣叹文论的影响；至于脂砚斋这一神秘人物，他（她）的身份我们至今

未知，但从脂评看，曹雪芹和脂砚斋对《金瓶梅》的文本是足够熟悉的，至于张

竹坡点评《金瓶梅》对于脂砚斋点评《红楼梦》是否有启发作用，还待探究。

金圣叹对《水浒传》的叙述情节、描写人物的手法十分推崇，甚至到了多有

溢美之辞的程度。他在《读第五才子书法》里说：“《水浒传》有许多文法，非他

书所曾有，略点几则于后”，然后列了十六条“文法”，如到插法、夹叙法、草蛇

灰线法等等。这些“文法”在概念之间有些重复之处，如“极不省法”与“横云

断山法”，都是在主线故事中间插入另外文字，以缓解累赘、同时造成悬念。不

过在这些“文法”中，有两条极为精准，也十分重要，即“正犯”法和“略犯法”。

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在中国古代章回小说中，作者用“犯”的手法目的其实是为了“避”，手法

高超的写作者通过描写看似雷同的情节和人物，来表现它们之间微妙的不同之

处，此时情节和人物的性格就活龙活现起来——用明清小说点评者的话来说，真

是“好看煞”、“妙”、“妙不可言”。

一、金圣叹批评《水浒传》之“正犯法”、“略犯法”

金圣叹把“犯”的手法分为“正犯法”与“略犯法”。所谓“正犯法”，即“正

是要故意把题目犯了，却有本事出落得无一点一画相借，以为快乐是也。”从例

子看，这指的是同一母题发生在不同人身上，从而生发出不同的故事情节，既突

出人物的微妙性格，又在情节上体现出诸般变化。至于“略犯法”，金圣叹举的

例子是“林冲买刀与杨志卖刀，唐牛儿与郓哥，郑屠肉铺与蒋门神快活林，瓦官

寺禅杖与蜈蚣岭试戒刀等”，那么“略犯”犯的是具体事物（刀）、人物或情节。

金圣叹说“正犯”的几个事件描写得“无一点一划相借”，虽然有些夸张，但的

确点出了“犯”的巧妙之处。

譬如被定为“正犯法”的潘金莲偷汉与潘巧云偷汉两个故事，金批曰：“西

门庆一篇，已极尽淫秽之致矣。不如忽然又有裴如海一篇，其淫其秽又复尽其极

致。读之真似初春食河魨，不复信有深秋蟹螯之乐。及至持螯饮白，然后又疑梅

圣俞‘不数鱼虾’之语，徒虚语也。”1这两回书，除了共用同一个母题之外，两

件事的相似程度很高——奸情从生发，到败露，最后奸夫淫妇被杀，脉络相同；

都讲到叔嫂矛盾的升级；甚至女性角色都姓潘——这些皆为作者故意安排下的元

素。在相同之中，作者却能在各种细节之处表现事件中各人物的具体性格特点，

也正是人物性格及人物之间关系之不同，导致情节走向的各种不同。

从人物性格和故事情节发展关系的角度说，潘金莲偷汉一事中，小主角是潘

金莲，大主角是武松，武松出现在事情头尾，这种故事的起头结尾方式正能显现

出武松的隐忍和爆发力；潘巧云偷汉故事中，小主角是潘巧云，大主角是石秀，

石秀对于潘、裴两人的奸情步步“瞧科”，事后让杨雄杀扫又步步紧逼，这种情

节安排则极现石秀之精细与狠毒。金批分外注意重复字词的运用，如潘金莲叫过

武松三十九遍“叔叔”，最后却改作“你”，“真欲令人绝倒也”2；又如王婆和西

1 施耐庵、金圣叹：金圣叹批评本水浒传，凤凰出版传媒集团，第四十四回回前评，第 416页。2 施耐庵、金圣叹：金圣叹批评本水浒传，凤凰出版传媒集团，第二十三回，第 211页。

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门庆一递一还地商量如何勾搭潘金莲、做钱色交易，通计三十八“笑”，等等。

金圣叹之所以看重这些重复字词的运用，是看出了作者如何打造人物形象及其关

系，从而安排下结构的。金批在潘巧云偷汉一回中频繁出现将潘金莲事与潘巧云

两事相对看的语句，比较同中之异。潘金莲当着武松之面使唤武大，又当着武大

之面满口叫“叔叔”，尤武松刚到时三人坐法，“只一坐法，写武大浑沌，武二直

性，妇人心邪，色色都有”3。武松去后，王婆与西门庆的交往，用五件事、十

分光写出王婆之计策；又用三十八声“笑”写出王婆之贪、西门庆之急。正是这

五人的特点，使得潘金莲偷汉一事能够顺理成章、自然而然地发生。同为“发生”，

潘巧云与裴如海的奸情却写得不同：潘巧云出场不久已埋下线索、露出端倪，早

被石秀“瞧科”，是用潘与裴事情的生发来写石秀之精细。譬如妇人与和尚见面

时，石秀已“瞧科一分了”，“却背叉着手，随后跟出来”，金批曰：“一写石秀精

细，一写淫妇不防。”4“偷汉”生发之后的下一环是“败露”。潘金莲偷汉一事，

街坊皆知，只因武松不在，使两人得以夜夜笙歌，而经过前文潘金莲勾搭武松不

成的细节、又有武松性格之铺垫，武松的回转即说明人物性格矛盾将一触即发，

前文伏笔之何九、郓哥、四邻等一一出场，杀嫂一场，金点出武松“自在”而众

人“骇极”。更巧妙的是，金圣叹还能看出作者在疾风骤雨般的情节中，不忘插

入的闲笔，使得故事血肉丰满。如武松请邻舍作见证，按着姚二郎不让走，金批

曰“百忙中，忽然自问，愈显笔势陡突”、“忽然自答，百忙中乃得让此一笔”5，

显得武松智勇双全，不慌不忙。至于两个故事中奸情败露与主角言行的写法则全

然不同，着力写出武松与石秀的性格特点来。石秀的“十分瞧科”用在杨雄不在

之时，是主角性格表现的层层积累；而潘金莲一事中武松性格积累在前，与“十

分瞧科”对应的是王婆的“十分砑光”，起的却是推动事情生发的作用。金批曰：

“王婆十分砑光，以整见齐；石秀十分瞧科，以散入妙：悉是绝世文字。”6两件

事的收梢起到的作用也不相同。武松隐忍在前，中间缺省，最后爆发，人物性格

的发挥呈一“V”字型；而石秀却是从头至尾“瞧科”从一分到十分；最后为了

自辩清白而安排下计策，那句“嫂嫂，不是我”被金批曰“石秀狠毒，句句都画

3 施耐庵、金圣叹：金圣叹批评本水浒传，凤凰出版传媒集团，第二十三回，第 212页。4 施耐庵、金圣叹：金圣叹批评本水浒传，凤凰出版传媒集团，第四十四回，第 417页。5 施耐庵、金圣叹：金圣叹批评本水浒传，凤凰出版传媒集团，第二十五回，第 244页。6 施耐庵、金圣叹：金圣叹批评本水浒传，凤凰出版传媒集团，第四十四回回前评，第 416页。

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出来”7，他的性格展现在文中体现为呈波动上升型。

我认为，小说的灵魂是人物，故事情节依附于人物身上，人物的性格以及人

物性格之间的矛盾（自我矛盾与人与人之间的矛盾）乃情节生发的源动力。对于

武侠类长篇小说来讲，故事情节的离奇固然比其它类小说更为重要，但这类小说

的情节仍旧依附于人物。譬如武侠小说家金庸对此问题的解释：“武侠小说的故

事不免有过分的离奇和巧合。我一直希望做到，武功可以事实上不可能，人的性

格总应当是有可能的。杨过和小龙女一离一合，其事离奇，似乎归于天意和巧合，

其实却须归因于两人本身的性格。”8《水浒传》中特别出色的情节之所以能从宋

元话本中脱颖而出、又被续书、编入各色戏曲中，与那些如活画般的人物是分不

开的。尤其是上文提到的武松，被金圣叹评为“天人”：“武松天人者，固具有鲁

达之阔，林冲之毒，杨志之正，柴进之良，阮七之快，李逵之真，吴用之捷，花

荣之雅，卢俊义之大，石秀之警者也。”9

二、张竹坡批评《金瓶梅》之“犯犯特手”

相对金圣叹点评《水浒传》是嬉笑怒骂，皆成文章，而张竹坡点评《金瓶梅》

则重人情物理，并且眼光更高，从大处着眼，掌握整篇文字。张竹坡对于分析同

类人物的不同性格特征也十分细致，认为《金瓶梅》为“众角色摹神”能“各各

皆到”、“特特相犯，各不相同”。《读法》说：“做文章不过‘情理’二字，于一

个人的心中讨出一个人的情理，非其开口便得情理，由于讨出这一个人的情理，

方开口耳。”10又认为《金瓶梅》写人物性格独特性，达到极细微程度，处处不

同：“刚写王六儿，的是王六儿；接写瓶儿，的是瓶儿；再接写金莲，又的是金

莲，绝不一点差错。”11可说张竹坡对于“犯”手法的理解首先是从“情理”出

发的，即每个人物的言行都要符合自己的身份和周围环境、人际关系，只有符合

情理才能够写到人性深处，引起读者共鸣。相对于重历史、重传奇的《水浒传》，

《金瓶梅》是人情小说，因此人物情节的描写也极力向人情、情理上靠，“犯”

的手法着力点不同。

7 施耐庵、金圣叹：金圣叹批评本水浒传，凤凰出版传媒集团，第四十五回，第 430页。8 金庸著、黄子平编选：《寻他千百度》，中华书局，第 234-5页。9 施耐庵、金圣叹：《金圣叹批评本水浒传》，凤凰出版传媒集团，第二十五回回前评，第 235页。10 兰陵笑笑生、张竹坡：《张竹坡批评金瓶梅》，齐鲁书社，第 9页。11 兰陵笑笑生、张竹坡：《张竹坡批评金瓶梅》，齐鲁书社，第 10页。

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张竹坡点评中指出“犯”的手法很多，例如《读法》中说“于中写桂姐，特

犯金莲；写银姐，特犯瓶儿。又见金瓶二人，其气味声息，已全通娼家。虽未身

为倚门之人，而淫心乱行，实臭味相投，彼娼妇犹步后尘矣。”12又“《金瓶梅》

妙在善于用犯笔而不犯也。如写一伯爵，更写一希大，然毕竟伯爵是伯爵，希大

是希大，各人的身分、各人的谈吐，一丝不紊。写一金莲，更写一瓶儿，可谓犯

矣，然又始终聚散，其言语举动，又各各不乱一丝。写一王六儿，偏又写一贲四

嫂。写一李桂姐，偏又写一吴银姐、郑月儿。写一王婆，偏又写一薛媒婆、一冯

妈妈、一文嫂儿、一陶媒婆。写一薛姑子，偏又写一王姑子、刘姑子。”13西门

庆一干帮闲的朋友中，给我印象最深刻的是应伯爵。应伯爵虽然是西门庆“第一

个最相契的”朋友，似乎有些话语权，但他最大的作用似乎就是说些笑话逗乐西

门庆，出场做得最多的事就是上西门庆家蹭饭，只要有吃的机会，就丑态毕露；

甚至还要找机会带些吃食回家给妻子，勉强度日，真是个即可恶又可怜的人物！

谢希大是西门庆第二个好朋友，出场时，张竹坡就把谢希大定位为“希大处处陪

写，故名希大”。14应伯爵与谢希大一为主、一为陪，因此在两人一同出现的场

面，说话总是以应伯爵为主的。譬如第一回“热结十兄弟”中，伯爵撺掇西门庆

闲了去瞧瞧李桂姐，谢希大就接话道：“哥不信，委的生得十分颜色”，张竹坡评

道：“希大说话，通是随如此，故不着伯爵，至篇终犯伯爵也。”15

除了从“情理”出发，论相犯而实不犯的人物以外，张竹坡把一些人物间的

关系定位以次补主。譬如书中写王六儿与宋蕙莲，有许多至少在表面看来与潘金

莲相“犯”处，如潘金莲“却是南门外潘裁的女儿，排行六姐”，“王六儿”的名

字便与这“潘六儿”犯了；宋蕙莲“乃是卖棺材宋仁的女儿，也名唤金莲”，“月

娘因他叫金莲，不好称呼，遂改名蕙莲”，这“宋金莲”的名字又与“潘金莲”

犯了，金莲脚小，惠莲脚更小，等等。对此，张竹坡在《<金瓶梅>寓意说》中

写道：“宋蕙莲、王六儿，亦皆为金莲写也。写一金莲，不足以尽金莲之恶，且

不足以尽西门、月娘之恶，故先写一宋金莲，再写一王六儿，总与潘金莲一而二，

二而三者也。”16言外之意，王六儿与宋蕙莲这两个人物其实都是潘金莲的影子，

12 兰陵笑笑生、张竹坡：《张竹坡批评金瓶梅》，齐鲁书社，第 26页。13 兰陵笑笑生、张竹坡：《张竹坡批评金瓶梅》，齐鲁书社，第 32页。14 兰陵笑笑生、张竹坡：《张竹坡批评金瓶梅》，齐鲁书社，第一回，第 14页。15 同上。16 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第 12页。

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她们存在的作用包括对潘金莲人物性格特点的补充。当然，这两个人物又都是具

有独立性的人物形象，她们虽与潘金莲相犯，但同时又有与潘金莲有所不同的一

面。第二十二回宋慧莲出场，张竹坡在回前评中写道：“夫写一金莲，已令人发

指，乃偏又写一似金莲，犯犯特手，却无一相犯。”17

三、脂砚斋评《石头记》之“特犯不犯”

《红楼梦》中人物之多，关系之复杂，远胜《水浒传》、《金瓶梅》，但曹雪

芹的妙笔却将各色裙钗写得传情入画，各不相犯。脂砚斋在做点评时对于人物情

节描写的“犯”与“不犯”着实重视，除了点明各处“不犯”之外，还将某些地

方“犯”的写法归纳为“特犯不犯”。

标为“不犯”之处，有人物外貌描写、有人物言行描写、有人物关系描写，

也有细小的故事情节，涵盖方方面面。如写迎春外貌：“第一个肌肤微丰，合中

身材……”，甲戌侧批：“不犯宝钗”。18写迎春外貌是借林黛玉眼看出，而后文

宝钗出场时用的是全知视角：“还有一女，比薛蟠小两岁，乳名宝钗，生得肌肤

莹润，举止娴雅”。19写人物言行的：“一语未了，只听外面一阵脚步响……”，

甲戌侧批：“与阿凤之来相映而不相犯”20，对应前文阿凤人未至而笑声先至。

写人物性格特点的如：“（李纨）一概无见无闻，唯知侍亲养子，外则陪侍小姑等

针黹诵读而已”，甲戌侧批：“一段叙出李纨，不犯熙凤”21，是写李纨如槁木死

灰，与王熙凤火辣的性格截然相反，形成对比；又“王夫人本是好清净的，……”，

甲戌双行夹批：“偏与邢夫人相犯，然却是各有各传”，因王夫人已将整理家事的

人物交予王熙凤，难得离开住处；而邢夫人则相对出场较少，与众人一道时，言

语不多。写人物之间关系的：“袭人道：‘你心里还不明白，还等我说呢！’”，庚

辰侧批：“《石头记》每用囫囵语处，无不精绝奇绝，且总不觉相犯”、“贾琏听说，

忙陪笑央求道：‘好人，赏我罢，我再不赌狠了’”，庚辰双行夹批：“好听好看之

极，迥不犯袭卿”，是因平儿之于贾琏是侍妾，又是王熙凤的陪嫁丫头，而袭人

是宝玉的丫头，主仆关系相差迥异。有写情节的：“……若花到谁手中，饮酒一

17 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第二十二回，第 285页。18 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第三回，第 23页。19 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第四回，第 37页。20 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第三回，第 29页。21 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第四回，第 39页。

7

杯，罚说笑话一个”，庚辰双行夹批：“不犯前几次饮酒”22，那时中秋冷清，本

是团圆佳节，家人却“只坐了半壁，下面还有半壁余空”，与前文过春节击鼓传

花对看，令人泪下。甚至还有建筑地点：“于是大家进入，只见入门便是曲折游

廊”，庚辰双行夹批：“不犯超手游廊。”如此种种，不一而足。

脂砚斋点明“特犯不犯”的，是以下几处：

“嬷嬷道：‘我喝呢，奶奶也喝一钟怕什么？只不要过多了就是了。’”甲戌

双行夹批“宝玉之李嬷，此处偏又写一赵嬷，特犯不犯。”23

“……将原委说明，大家方知。”庚辰眉批：“《石头记》惯用特犯不犯之笔，

读之真令人惊心骇目。”24

“此时林黛玉未得展其抱负，自是不快。因见宝玉独作四律，大费神思，何

不代他作两首，也省他些精神不到之处。”庚辰双行夹批：“写黛玉之情思，待宝

玉却又如此，是与前文特犯不犯之处。”25

“黛玉笑道：‘饶骂了人，还说是故典呢。’”庚辰眉批：“‘玉生香’是要与

‘小恙梨香院’对看，愈觉生动活泼，且前以黛玉后以宝钗，特犯不犯，好看煞！”

26

“只见史湘云大笑大说的，见他两个来，忙问好厮见。”庚辰双行夹批：“写

湘云又一笔法，特犯不犯。”27

“王一贴笑道：‘正是呢。哥儿别睡，仔细肚里面筋作怪。’说着，满屋里

人都笑了。”庚辰双行夹批：“王一贴又与张道士遥遥一对，特犯不犯。”28

由这些批语可以看出，脂砚斋认为，用“特犯不犯”手法，往往是选择地位

相类、利于对比的人物描写，因此具有相映成趣的审美效果。例如：李嬷嬷与赵

嬷嬷，同是奶妈，一个不知体理，惹怒了宝玉及房中一干丫头；一个知趣识理，

得到王熙凤与贾琏的尊重；王一贴与张道士，都是老道士，一个带着强烈的江湖

气息，一个则是贾代善的替身，满是王公贵族的官气。宝钗、黛玉、湘云等裙钗，

都是美貌、善良、有才情的少女，但各自有传，乃至于贾府的一百零八位女性，

22 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第七十五回，第 586页。23 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第十六回，第 123页。24 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第十八回，第 143页。25 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第十八回，第 147页。26 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第十九回，第 162页。27 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第二十回，第 167页。28 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第八十回，第 627页。

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都入于“情榜”，各有其“情”的特点。尤其是宝钗与黛玉相比，一个行为豁达，

在姐妹中最受欢迎，一个孤高自许，言语尖刻总是得罪人。关于钗黛之间的“特

犯不犯”之笔，既多且妙。脂砚斋对于黛钗比较的地方，每每特意指出：“看他

写宝钗，比颦儿如何？”29；有“宝卿正传”，就有“黛玉之传”30；有黛玉替宝

玉作诗，就有宝钗替宝玉改诗；有黛玉“静日玉生香”，就有宝钗“小恙梨香院”；

有梨香院黛玉之讽，就有潇湘馆宝钗之讽。在行文中或“前以黛玉，后以宝钗”，

或“前以宝钗，后以黛玉”，参差相对而始终“不犯”，使钗黛二人得其“真体实

传”31，活画出两人之相。

参考文献

[1]施耐庵著.金圣叹批评,陆林校点.金圣叹批评本水浒传.凤凰出版传媒集

团.2010

[2]兰陵笑笑生著.王汝梅，李昭恂，于风树校点．张竹坡批评金瓶梅.齐鲁书

社.1991

[3]曹雪芹著.脂砚斋重评石头记.中州古籍出版社.2010

[4]金庸著、黄子平编选.寻他千百度.中华书局.2013

[5]王水照.文话：古代文学批评的重要学术资源[期刊论文]-四川大学学报（哲

学社会科学版）.2005(4)

[6]何红梅.《红楼梦》评点理论研究——以脂砚斋等 10 家评点为中心[学位论

文].2007.11

[7]石麟.古代小说评点派的形成、演变和主要特点[期刊论文]-福州大学学

报.2005,19(3)

[8]石麟.张竹坡批评《金瓶梅》写作技巧探胜[期刊论文]-湖北师范学院学报（哲

学社会科学版）.2001,22(1)

29 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第二十二回，第 180页。30 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第八回，第 69页。31 曹雪芹：《脂砚斋重评石头记》，中州古籍出版社，第八回，第 69页。

9

Technique of Repetition in Commentaries by Jin Shengtan,

Zhang Zhupo and Zhi Yanzhai

Abstract: Water Margin, Jin Ping Mei and A Dream of Red Mansions are spectacular

traditional Chinese novels during Ming and Qing Dynasty, with each chapter headed

by a couplet giving the gist of its content. The review of these novels by Jin Shengtan

et al is of high standards, in which they share many a similar point of view. In line

with the texts, this paper combs through the discussions of “犯” (repetition) by Jin

Shengtan, Zhang Zhupo and Zhi Yanzhai.

Key words: repetition, Jin Shengtan, Zhang Zhupo, Zhi Yanzhai

Between the reign of Ming Emperor Chongzhen and the reigns of Qing Emperor

Shunzhi and Kangxi, commentaries on novels came forward in great numbers, among

which were there masterpieces, including Jin Shengtan’s commentary of Water

Margin, Mao Zonggang’s of Romance of the Three Kingdoms and Zhang Zhupo’s of

Jin Ping Mei. Among these works, Jin Shengtan’s commentary of Water Margin set

the example for the review of popular novels, which set the stage for the formation of

commentary school in late Ming and early Qing dynasties

Prof. Wang Shuizhao from Fudan University classified such commentaries on

novels into the category of “article science”. “Article science” surfaced in the Song

Dynasty. With its complicated connotation, it established one's own system, and it

can be divided into Wendao Theory (form and content), Wenqi Theory (style of

writing), Wenjing Theory (context), Wenti Theory (type of writing), Wenshu Theory

(writing skills), Pinping Theory (review) and Wenyun Theory (“Qi” of the writing).

According to this system, judging from the contents, commentaries of Jin Shengtan

et al belong to Wenshu Theory and Pinping Theory, which means the focus of their

works is to review the author’s skill in depicting characters and arranging plots as

well as comparing it with other works from other authors. After Jin Shengtan’s

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commentaries set the example, Zhang Zhupo’s on Jin Ping Mei is another milestone

in the history of commentaries on novels during the Ming and Qing dynasties.

Between the lines in the preface of Zhang’s commentary on Jin Ping Mei are told his

familiarity with Jin Shengtan’s commentary on Water Margin, which attests to Jin’s

influence on his commentary. As to Zhi Yanzhai, such a mistrtious figure, to date we

still know nothing about his or her true identity. But from his/her commentary, Cao

Xueqin and Zhi Yanzhai were very acquainted with the texts in Jin Ping Mei.

Besides, it still remains to be further explored whether Zhang Zhupo’s commentary

on Jin Ping Mei inspired Zhi Yanzhai’s on A dream of Red Mansions or not.

Jin Shengtan highly praised the skills of plot narration and character description,

even lavish in his praise. In Jin’s How to Read the Fifth Work of Genius (《读第五才

子书法》), he says, “Many techniques applied in Water Margin is unique for others

novels, and I will mention some of them in the following.” He then lists sixteen

techniques (文法), such as Advance Insertion (倒插法), Simultaneous Narration (夹

叙法), and Snake in the Grass or Thread Through/Incremental Repetition (草蛇灰线

法 ). Some techniques, in terms of their concepts, are overlapped to some degree.

Take Extreme Avoidance of Narrative Frugality (极不省法 ) and Clouds Cutting

Mountains in Half/Digression Insertion (横云断山法 ) for example. They are both

the insertion of narrative amid the main story, so ask to avoid verbose length of story

and to lead the readers into suspense. Even so, two out of these techniques are

precisely interpreted as well as of great importance, that is, Direct Repetition of

Topic (正犯法) and Incomplete Repetition of Topic (略犯法).

In Chinese traditional chapter novels (a type with each chapter headed by a

couplet giving the gist of its content), the reason the author adopted the technique of

“犯” (repetition) is actually to “避” (avoid). Savvy writers intentionally describe those

seemingly similar plots and characters in order to actually indicate the subtle

differences between them, through which the plots become intriguing and the

characters become vitalized—to quote the words from critics of novels of the Ming

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and Qing dynasties, they are “好看煞” (brilliant arrangement), “妙” (fabulous) and

“妙不可言” (ingenious beyond description).

Chapter 1 Direct and Incomplete Repetition of Topic in Jin

Shengtan’s Commentary onWater Margin

Jin Shengtan classifies technique of repetition as Direct Repetition of Topic and

Incomplete Repetition of Topic. The former one is used to “repeat a foregoing

storyline, but the author is so skilled that he renders a tale that shares not the least

shred of plots with the former one. Thus this is enjoyment.” His illustrative examples

show that disparate storylines are derived from the same topic on different characters,

which underlines the subtle dispositions of characters, and in the meantime, creates

changes of plot. As for Incomplete Repetition of Topic, examples from Jin include Lin

Chong purchasing sword and Yang Zhi selling sword, Tang Niu’er and Yunge,

Zheng’s butcher shop and Jiang Zhong’s Forest of Delight, staff of Lu Da’s at Waguan

Monastery and the knives of Wu Song’s at Centipede Ridge, etc. Therefore,

Incomplete Repetition of Topic refers to specific articles, such as knife, specific

character or storyline. Jin appreciates the direct repetitions in Water Margin, as

mentioned above, “that shares not the least shred of plots with the former one.”

Although this comment seems to the author a bit exaggerating, it indeed illustrates the

fineness of repetition.

For instance, Pan Jinlian’s adultery and Pan Qiaoyun’s adultery are defined as

Direct Repetition of Topic to each other. Jin comments, “The story about Ximen Qing

is salacious to its extreme, but the story of Pei Ruhai repeats the storyline, which is

also obscene to its extreme. When reading the former story, one feels like savoring

delicious globefish in early spring, and then not believing the pleasant crab in late

autumn. Not until he eats crab and drinks baijiu does he doubts the verse of Mei

Yaochen, a poet in Northern Song Dynasty, ‘When globefish is in season, fishes and

12

shrinks are no comparison,’ ”32 In addition to sharing the same topic, the two stories

highly resemble each other. There is the same storyline—the adultery developed and

exposed, and immortal man and women killed; the same conflict—friction between a

women and her husband’s brother; the very surname Pan. All these were elements

arranged by Shi Nai’an, the author of Water Margin, on purpose. Under the same

topic, Shi manages to develop so diversified details as to show the distinctive

personality of different character, and vice versa.

Referring to character’s personality and storyline, in Pan Jinlian’s adultery, Pan

Jinlian is the minor protagonist while Wu Song the major protagonist. Wu Song

appears in the every beginning and the end of the story. This way of narration is

applied to demonstrate Wu Song’s tolerance and explosive power. In Pan Qiaoyun’s

adultery, Pan Qiaoyun is the minor protagonist while Shi Xiu the major protagonist.

Shi Xiu observes the whole proceeding of adultery between Pan Qiaoyun and Pei

Ruhai and made the initiative move in killing Pan Qiaoyun. This way of narration

could sufficiently show readers a meticulous and cruel Shi Xiu. Jin pays strong

attention to repeated words. For instance, Pan Jinlian calls Wu Song “brother-in-law”

thirty-nine times, but calls Wu Song “you” before her death. Jin comments, “I cannot

admire it more.”33 Another example is the discussion between Mistress Wang and

Ximen Qing about how to seduce and bribe Pan Jinlian. Thirty-eight smiles appear

during the discussion. The reason that Jin attaches such importance to repeated words

is he sees through how Shi Nai’an designs characters and their relationships, which

contributes to the narrative structure. In Pan Qiaoyun’s story, Jin frequently compares

Pan Qiaoyun’s adultery with Pan Jinlian’s. Pan Jinlian bosses Wu the Elder around in

the presence of Wu Song, and calls Wu Song brother-in-law in front of Wu the Elder.

In the banquet for welcoming Wu Song’s first arrival, she sits at the head of the table

and Wu Song opposite and Wu the Elder at the side. “Their positions illustrate that

Wu the Elder is foolish, Wu Song straightforward, and the woman evil-intentioned.

32 Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Pre-commentaryof Chapter 44, Page 416.33 Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Chapter 23, Page211.

13

The description is well-contained.”34 After Wu Song left, Mistress Wang and Ximen

Qing collude to seduce Pan Jinlian. Mistress Wang comes up with the idea that

includes five requirements and ten steps. Thirty-eight kinds of laughter are used by

Shi Nai’an to show Mistress Wang’s greediness and Ximen Qing’s eagerness. Due to

the characters of these five people, Pan Jinlian is finally successfully seduced. It is

also adultery, but what between Pan Qiaoyun and Pei Ruhai is differently narrated.

Not long after the character Pan Qiaoyun shows up, there is a trace of her playing the

field which is perceived by Shi Xiu. That the adultery happens is to imply Shi Xiu’s

smartness. For instance, when Pan Qiaoyun is going to meet the monk, Shi has

already sensed something, and then he “with his hands folded behind his back,

follows her afterwards”, Jin’s comment is, “For one thing, Shi Xiu is astute; for

another, the adulteress is unwary.”35 The next phase after development of adultery is

the exposure. Pan Jinlian betrays her husband, which is known by the whole

neighborhood, but the adulterers are able to meet each other every day because of Wu

Song’s absence. Previously, Pan Jinlian failed to seduce Wu Song. This occurrence

and Wu Song’s character serve as the foreshadowing. The subsequent return of Wu

Song instantly triggers the conflict. After the assisting characters, including He Jiu,

Yunge and neighbors, showed up one by one, Wu Song is about to kill his

sister-in-law. Jin’s comment in here is a contrast: Wu Song is “easy” while others

“astonished.” Jin even goes more penetrating: he finds the attempt of Shi Nai’an to

enrich this storm-like narrative—adding setting. For example, Wu Song invited

neighbors to be witnesses, but he does not let Yao Wenqing go. Jin comments, “In a

heart-stirring plot, by raising a sudden question, the author creates a great suspense,”

“Now it is a sudden answer, an insertion in the heart-stirring plot,”36 which gives out

that Wu Song is well-planned, bold and in no hurry. How the adultery is exposed and

the characters’ reactions vary completely from each other. Shi Xiu fully observes the

34Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Chapter 23, Page211.35 Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Chapter 44, Page417.36 Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Chapter 25, Page244.

14

adultery when Yang Xiong is absent, so Shi Xiu is a character shown bit by bit. On the

contrary, character of Wu Song has already been preset before Pan Jinlian’s betrayal.

Shi Xiu fully observes the adultery while Mistress Wang full plans the seduction, with

both of which the plots are developed. Jin thinks high of both narratives, saying them

“peerless”37 Each beginning serves a different function: Wu Song tolerates Pan

Jinlian first, leaves in the middle and vents his grievance at the end, his character

forming a “V” shape; Shi Xiu observes the adultery from beginning to end, and he

thinks of a plot to vindicate himself. When Yang Xiong is going to kill his wife, Shi

Xiu denies, “Sister-in-law, it is not me.” Jin comments, “Shi Xiu is ruthless, which is

illustrated by each sentence.”38 His character forms a fluctuating ascension.

As to the author, the spirit of a novel is characters, on which the plot rests;

characters’ personalities and personality contradictions (self and interpersonal

contradictions) are the power to develop the plot. Even though it comes to wuxia

novel, a genre that attaches great importance to bizarre storyline, plots are also

derived from characters. Jin Yong, a world-known Chinese wuxia novelist, was asked

at a readers’ seminar whether tragedies was he deliberately assigned to characters in

The Return of the Condor Heroes. Jin Yong answered that he only wrote several

characters at the beginning of a novel, and then the story developed gradually

according to characters’ personalities, some of which ended up in comedies and some

tragedies.39 Postscript of The Return of the Condor Heroes gives a detailed

explanation: “A wuxia novel contains inevitable quaintness and coincidences. I

always want to achieve this: their kungfu is not real, but the human characters can

possibly exist. The departure and reunion between Yang Guo and Little Dragon

Maiden are fantastic, but they seem all about heaven’s will and coincidences. In fact,

they should all be attributed to their personalities. If they do not love each other so

deeply, they will not dump into the valley one after another. But for indifference, it is

impossible for Little Dragon Maiden to live in the Passionless Valley for long; but for

37 Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Pre-commentaryof Chapter 44, Page 416.38 Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Chapter 45, Page430.39 Jin Yong. Huang Ziping ed. A Thousand Search. Zhonghua Book Company, Page 331.

15

devotion and pureness, Yang Guo would not have waited his love for sixteen years

with no regrets. Of course, things in the world change, and there are ups and downs.

Destiny and fate may take its course, but fortune does not fall on everyone. All in all,

personality makes things happen.”40 Those vivid characters play an indispensable

role in Water Margin. Thus some of its excellent plots could stand out among Song

and Ming story books and were adapted into serials and operas. Among all these

characters, Wu Song wins Jin Shengtan’s highest compliment—a transcendent. “Wu

Song is a transcendent. He is as broadminded as Lu Da, as cool as Lin Chong, as

righteous as Yang Zhi, as kind-hearted as Chai Jin, as agile as Ruan Xiaoqi, as

innocent as Li Kui, as quick-witted as Wu Yong, as elegant as Hua Rong, as

magnanimous as Lu Junyi and as cautious as Shi Xiu.”41

Chapter 2 Technique of Repetition in Zhang Zhupo’s

Commentary on Jin Ping Mei

In contrast to Jin’s passionate comments, Zhang Zhupo’s is inclined to human

feelings and reasons, with a big picture. Zhan is particular about analyzing personality

of individual character in details. He holds a viewpoint that “the descriptions of all

characters are well-contained, repeated on purpose but divergent. How to Read Jin

Ping Mei (《读法》) mentions, “Writing is nothing but feelings and reasons. It is to

bring feelings and reasons out of a human heart, so the character speaks for feelings

and reasons.”42 Zhang also thinks features of characters in Jin Ping Mei are portrayed

in a circumstantial and unique way: “The description of Wang Liu’er is distinctive,

that of Ping’er’s is personal, and that of Jinlian’s is distinguishing; each one is

perfectly appropriate.”43 Thus it can be seen that Zhang interprets repetition from the

prior perspective—feeling and reason, aka speech and action of each person shall

40 Jin Yong. Huang Ziping ed. A Thousand Search. Zhonghua Book Company, Page 234-5.41Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing & Media Inc. Pre-commentaryof Chapter 25, Page 235.42 Lanling Xiaoxiao Sheng. Wang Rumei, Li Zhaoxun and Yu Fengshu ed. Jin Ping Mei with Zhang Zhupo’sCommentary. Qilu Publishing, Page 9.43 Lanling Xiaoxiao Sheng. Wang Rumei, Li Zhaoxun and Yu Fengshu ed. Jin Ping Mei with Zhang Zhupo’sCommentary. Qilu Publishing, Page 10.

16

accord with his or her status, circumstances and human relationships. Only complying

with feeling and reason can the article goes deep into human nature, arousing echo in

a reader’s heart. Water Margin features history and sagas while Jin Ping Mei focuses

on human. For this reason description is human-oriented and reason-oriented, and the

emphasis of repetition is also different.

Zhang comments on the variations of repetition in How to Read Jin Ping Mei. He

says, “Guijie is an identical repetition of Pan Jinlian while Yinjie is that of Ping’er.

When looking back to Pan and Li, they are truly luscious. Although Guijie and Yinjie

have not been adulterous, but as people of the same ilk, they would follow the

example of Pan’s and Li’s.”44 Besides, “Wonderful, Jin Ping Mei is apt at using

repetition technique but not repeated in storylines. For example, the author creates a

Ying Bojue, with a resemblance called Xie Xida. However, Bojue is Bojue while Xida

is Xia. He makes a clear distinction between their statuses and styles of conversation.

Li Ping’er is a repetition of Pan Jinlian, but they are partly similar and greatly

different. Their speeches and behaviors are individual. Ben Sisao is the repetition of

Wang Liu’er, Wu Yinjie and Zheng Yue’er are repetitions of Li Guijie, Matchmaker

Xue, Madam Feng, Ms. Wen and Matchmaker Tao are repetitions of Mistress Wang,

and Wang Guzi and Liu Guzi are repetitions of Xue Guzi,”45 Zhang adds. Ying Bojue

could be counted as the most impressive characters among Ximen Qing’s do-nothing

friends. Being Ximen’s “most tacit” friend, he has a say in some matters, but he

actually serves as a joker for Ximen. What he constantly does is showing up at

Ximen’s residence as a freeloader. As long as there is something to eat, his clownism

will be unveiled, and he even takes opportunities to snatch some food for his wife at

home. What a loathsome and pathetic man! Xie Xida is another good friend of Ximen

Qing. Zhang defines Xie as a “Ying’s forever company.”46 Ying as the primary

character while Xie the secondary. This is why Ying Bojue takes initiative in

44 Lanling Xiaoxiao Sheng. Wang Rumei, Li Zhaoxun and Yu Fengshu ed. Jin Ping Mei with Zhang Zhupo’sCommentary. Qilu Publishing, Page 26.45 Lanling Xiaoxiao Sheng. Wang Rumei, Li Zhaoxun and Yu Fengshu ed. Jin Ping Mei with Zhang Zhupo’sCommentary. Qilu Publishing, Page 32.46 Lanling Xiaoxiao Sheng. Wang Rumei, Li Zhaoxun and Yu Fengshu ed. Jin Ping Mei with Zhang Zhupo’sCommentary. Qilu Publishing, Chapter 1, Page 14.

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conversations when Ying and Xie appear at the same time. Take the first chapter “Ten

Earnestly Become Sworn Brother” for example. Bojue eggs Ximen Qing on a visit to

Li Guijie, and then Xie Xida continues the conversation, “Brother, trust me. She is so

beautiful.” Zhang’s comment is, “This is the common way of Xi’s style of speaking.

Though different from Bojue’s, it repeats Bojue’s all the time.”47

Apart from the perspective of feeling and reason, Zhang Zhupo categorizes the

repeated characters as primary and secondary, the secondary being the complement of

the primary. Characters including Wang Liu’er and Song Huilian, in form at least,

resemble Pan Jinlian. Pan is “the sixth daughter of the tailor Pan outside the South

Gate,” and Wang Liu’er (literarily, the sixth child) shares the same name. Song

Huilian is “the daughter of Song Ren, a coffin seller, her name is also Jinlian.” “But

Yueniang thought Jinlian was not a catchy name, so changed it into Huilian.” So,

Song Jinlian is a repeated name of Pan Jinlian. Besides, Pan Jinlian has a pair of small

feet, but Huilian’s are even smaller. In The Implied Meaning in Jin Ping Mei (《<金瓶

梅>寓意说》), Zhang says, “Song Huilian and Wang Liu’er are characters designed

for Pan Jinlian. Pan Jinlian alone is far enough to demonstrate her evil, and not

enough to expose Ximen’s and Yueniang’s evil. That’s why the author arranges the

appearance of Song Jinlian and Wang Liu’s as the repetitions of Pan Jinlian.”48 Zhang

implies that the two characters, Wang Liu’er and Song Huilian, are the shadows of

Pan, playing a complementary part for the character Pan. Of course, Liu and Song are

indeed individual characters, partly repeated and partly different from Pan. Zheng

comments in the book, “The character Pan Jinlian has already made one’s blood boil,

but there appears a resemblance of hers. This is technique of violent repetition,

achieving a non-repeated effect.”49

47 Lanling Xiaoxiao Sheng. Wang Rumei, Li Zhaoxun and Yu Fengshu ed. Jin Ping Mei with Zhang Zhupo’sCommentary. Qilu Publishing, Chapter 1, Page 14.48 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press, Page12.49 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 22, Page 285.

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Chapter 3 Non-contradicted Repetition of Topic in Zhi Yanzhai’s

Commentary on A dream of Red Mansions

The characters in A dream of Red Mansions outnumber those in Water Margin,

Jin Ping Mei, and relationships in A dream of Red Mansions are also far more

complicated. Even so, each female character, attributed to the ingenious author Cao

Xueqin, is vivid and distinctive. When Zhi Yanzhai comments on repetition applied in

characters and plots, he holds a practical view of point. Apart from highlighting each

repetition, he defines a variation of repetition—Non-contradicted Repetition (特犯不

犯).

Words marked with “non-contradicted” include character’s appearance, speech

and behavior, characters’ relationship, detailed storyline, etc. For example, Jia

Yingchun’s appearance in Chapter 3, “The first was somewhat plump and of medium

height….” Zhi Yanzhai’s comment is, “Not a repetition of Baochai,” 50 because the

appearance of Yingchun’s is introduced to readers from Lin Daiyu’s perspective while

the third-person omniscient perspective is adopted when Baochai shows up. “But she

also had a daughter two years younger whose infant name was Baochai, a beautiful,

dainty girl of great natural refinement.”51 As referring to speech and behavior, this is

the debut of Jia Baoyu, “The words were hardly out of her mouth when they heard

footsteps in the courtyard….” Zhi Yanzhai says, “This contrasts with the debut of Ah

Feng (Wang Xifeng), but they do not repeat.”52 It comes with Wang’s laughter before

her presence. As to character’s personality, “Apart from waiting on her elders and

looking after her son, all she (Li Wan) did was to accompany the girls at their

embroidery or reading.” Zhi Yanzhai comments, “This description of Li Wan is

different from that of Wang Xifeng.”53 Li Wan, like “withered wood or cold ashes”, is

dramatically opposite to the outgoing Wang Xifeng, so here is a contrast. Another

50 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 3, Page 23.51 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 4, Page 37.52 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 3, Page 29.53 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 4, Page 39.

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example, “And Lady Wang, who liked peace and quiet…,” the comment is, “A direct

repetition of Lady Xing, but they have their own stories,” because Lady Wang has

already handed the household to Wang Xifeng, so she rarely leaves her residence

while Lady Xing is a minor character who seldom shows up and thus she does not

speak much in a crowd.

Here is an example for repetition in relationship. In chapter 21, “You know

perfectly well without my telling you.” Xiren says. Zhi Yanzhai writes down,

“Whenever a character says something implicit, it would be extremely wonderful, and

it is never repeated.” “At once Jia Lian begged with a smile, ‘Give it me, there’s a

good girl, and I won’t use force.’” Comment is, “Truly wonderful feast to ears and

eyes. Totally different from Xiren”. This is because Ping’er is Jia Lian’s concubine

and Wang Xifeng’s maid while Xiren is Baoyu’s maid. The master-servant

relationship is not the same54. We can find repetition of narrative. In chapter 75, a

Mid-autumn feast was held, “Whoever had it when the drumming stopped had to

drink a cup of wine and tell a joke as forfeit.” Comment is, “It is different from the

drinking in former feasts.” This mid-autumn is a lonely one. In a festival that

symbolizes the family union, “The circle, however, was only half complete, the other

half being conspicuously vacant.” Compared with their passing the follower in

drumming on a Lantern Festival feast, the comparison is tear-jerking. Last but not

least, there is also the repetition of architecture. “…they walked in. From the gate

porch a zigzag …,” Zhi Yanzhai says this is not a repetition of the verandahs

mentioned in chapter 3. Such kind of repetition is numerous in this novel.

The non-contradicted repetition Zhi Yanzhai puts forward refers to the following:

“I will,” said the nurse. “But you must take a cup too. Don’t be afraid! The

thing is not to drink too much….” This is about Jia Lian’s former wet-nurse. Zhi

Yanzhai’s comment is, “Baoyu has a wet-nurse called Nanny Li, and there is a Nanny

Zhao here. A non-contradicted repeption.”55

54 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 75, Page 586.55 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 16, Page 123.

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In chapter 18, the author directly mentioned the novel’s name—Tale of the

Stone—here, “…Let me, stupid as I am, explain this to you.” Comment is, “This

novel is used to non-contradicted repetition. It feels appalling when reading this.”56

“…Daiyu, depressed at having no chance to shine, came up to his desk where he

was struggling alone, meaning to help him out by writing a couple of poems for him.”

Zhi Yanzhai says, “This is the description of Daiyu’s love. She also treats Baoyu like

this before. This is a non-contradicted repetition.”57

In chapter 19, Daiyu laughed, “You make fun of me and dare pretend it’s an

allusion.....” Zhi Yanzhai says, “Intoxicating fragrance from Daiyu’s sleeve shall be

compared with Baochai’s cool, sweet fragrance mentioned in chapter 8 so that one

feels it interesting and vivid. A contradicted repetition, brilliant arrangement!”

“…where they found Shi Xiangyun laughing and chattering away. After they

had greeted each other…” This is Shi Xiangyun’s debut in chapter 20. Zhi Yanzhai’s

comment is, “Another way to describe Shi Xiangyun. A contradicted repetition.”58

“One-Plaster Wang laughed. ‘Quite right. You mustn’t fall asleep after eating the

gluten in that vegetarian meal, or it’ll play tricks in your belly! The whole room

laughed….” The comment in here is, “One-Plaster Wang is the resemblance of Priest

Zhang. A contradicted repetition.”59

From all these comments we can see that the Contradicted Repetition, in Zhi

Yanzhai’s opinion, shall be used when two characters are similar in status and easier

to be compared with, so as to create an aesthetic contrast. For example, Nanny Li and

Nanny Zhao are both wet-nurses; the former one is so arrogant and rude that she

offends Baoyu and his maids while the latter one is sensible so that she earns the

respect of Wang Xifeng and Jia Lian. One-Plaster Wang and Abbot Zhang are both old

Taoist priests. Wang is typically grassroots while Zhang, as the Duke of Rongguo's

56 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 18, Page 143.57 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 18, Page 147.58 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 20, Page 167.59 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 80, Page 627.

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substitute, is noble. Young ladies, including Baochai, Daiyu and Xiangyun, are

good-looking, kind-hearted and educated; they all have their own stories and

personality, so the 108 women in Jia Family, with their features about love, are all

listed in the “Love Registers”. The most important is the comparison between

Baochai and Daiyu, one of who is generous and very popular among people while the

other is proud, solitary and sharp-tongued. There are quite a lot of Non-contradicted

Repetitions between Baochai and Daiyu, which are so refined. Most of their

comparisons are pointed out by Zhi Yanzhai, like “How about comparing Baochai

with Daiyu?”60, “The story of Baochai will definitely be followed by that of Daiyu.”61 Daiyu helps Baoyu write verses, and Baochai helps him polish a poem. Baoyu sells

fragrance from Daiyu, so he does from Baochai. Daiyu retorts at Baochai’s residence

Pear Fragrance Court, so Baochai mocks at Daiyu’s Bamboo Lodge. In the novel,

“Daiyu shows up first, and then Baochai”, and vice versa. The order is parallel but

their comparison not contradicted, which shows readers vivid portraits of them two.

60 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 22, Page 180.61 Cao Xueqin. New Rough Inkstone’s Commentary on Story of the Stone. ZhongzhouAncient Books Press,Chapter 8, Page 69.

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Reference

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Ancient Books Press, 2010.

[2] He Hongmei. Research on Commentary Theories on A dream of Red

Mansions—Based on Ten Commentaries. 2007.

[3] Jin Yong. Huang Ziping ed. A Thousand Search. Zhonghua Book Company, 2013.

[4] Lanling Xiaoxiao Sheng. Wang Rumei, Li Zhaoxun and Yu Fengshu ed. Jin Ping

Mei with Zhang Zhupo’s Commentary. Qilu Publishing, 1991.

[5] Shi Lin. Formation, Development and Main Features of Ancient Novel Criticism.

Journal of Fuzhou University, 2005 (3).

[6] Shi Lin. Study on Writing Techniques in Zhang Zhupo’s Commentary on Jin Ping

Mei. Journal of Hubei Normal University (Philosophy and Social Science), 2001

(1).

[7] Shi Nai’an. Water Margin with Jin Shengtan’s Commentary. Phoenix Publishing &

Media Inc., 2010.

[8] Wang Shuizhao. Wenhua: An Important Academic Resource of Ancient Literary

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