Readers only pay attention to the superficial plot content, but can't pay attention to the content hidden behind the text, which is a pity for the author's original intention of creation. The following is the chronology of Zhiyanzhai and Yizhen's comment system, which appears in the fat edition: The annotator's version of Ganzhinian records the 19 years of Qianlong before JOE (1754), and makes a preliminary comment on the 19 years of Qianlong of Zhiyanzhai in JOE (1754). Re-evaluation of Gan Long's Twenty-one Books (1756), Gan Long's Twenty-two Books (1757), Mao Ganlong's Twenty-four Books (1759), Chen Geng's Books (/kloc-0) Zhiyanzhai Tibetan Wuzi Qianlong was thirty-three years (1768), Jingmao Qianlong was thirty-six years (177 1), and Wu Jia Qianlong was thirty-nine years (1774). In addition to Zhi Yanzhai, there are others who are making fat editions, such as Yizhen and Xingzhai. Later, the popular version in the world was also commented by Meng Jue and others, but Zhi Yanzhai was the first to comment. After several comments, it often hit the nail on the head. Through a careful study of the contents of Zhi Pi Zhai, we can find that Zhi Pi Zhai is closely related to the author, knowing that the author is at the bottom of the book and has a * * * connection with the author's life experience and feelings, and being familiar with all kinds of strange methods used by the author in the process of writing a book. He often took pains to guide readers to find clues step by step, and even participated in the writing process of A Dream of Red Mansions. He was the earliest red scientist. But this mysterious figure has never been known to the world, and even whether it is a man or a woman has not been clearly debated. It is a strange phenomenon in the red circle. There was a comment before the 21st chapter of The Book of Chen Geng: A Dream of Red Mansions is all the same, but I lost my surname and saw its poetic horror, so I wrote in Shilu: I praised the golden hair and the kudzu, and I committed suicide. Qian Sha's son is infinitely affectionate, and Mr. Yan Zhi hates his guts. Is it fantasy or vacuum, idle wind and idle moon, oh, the situation is broken, what should I do if I am in a bad mood? Many people write books. This is a unique piece of music, and the poem is full of warnings. I also know that I want to write a book at the bottom, but I'm sorry I lost my name. This passage is obviously secretive. Imagine if Tso Gong and Zhi Yanzhai met such a confidant who knows the truth and has three tastes, and it was too late to be thankful and sigh. Is there any reason to remember the poem clearly but forget the other person's name So I'm afraid this guest can only be the author or the approver himself. I'm afraid it will cause too much trouble, so I'll call the roll here. It can be seen from the meaning of the poem (if Zhifu says this poem is famous for its happy ending): A Dream of Red Mansions is a self-arguing, self-directed and self-acting play. The two characters in the play are Jia Baoyu, who is full of love as a novel, and Mr. Yan Zhi, who is full of hatred and criticism. These two characters are very lively with each other, but they all belong to an organic part of the whole dream of red mansions. In other words, fat criticism is indispensable to A Dream of Red Mansions. Without him, readers can only see Mr. Qian Sha's infinite affection, but they can't appreciate the hatred of Mr. Yan Zhi, the other side of the book. So who should hate the whole book? It is clearly written in the poem: a piece of nonsense, a bitter tear, the author of Dou Yun is crazy. Who can explain the taste? Of course, I want to express my hatred for the author Cao Xueqin. So, isn't Mr. Yan Zhi mentioned here the doppelganger of Zhi Yanzhai, the author of A Dream of Red Mansions? Of course, the other part of the author's emotional doppelganger is mainly entrusted by Jia Baoyu. From this point of view, the structure of this book is extremely complicated and interesting. As we know, the main plot of the book is the story carved on the stone-the story of the stone, which includes two parts that complement each other: Twelve Women in Jinling and the Moon Mirror. The Story of the Stone is included in the whole story of A Dream of Red Mansions, which is complete and full of criticism. He not only played the role of Jia Baoyu, the protagonist of the plot, but also became a stone in the book. More importantly, he played a cold-eyed role through comments and fully showed his love and hate to readers. This ingenious structure is unprecedented in any novel in ancient and modern times. Forty-eight comments on Xiang Ling's Talk in a Dream: the big book is a dream, Baoyu's love is a dream, Jia Rui's adultery is a dream, Qin Jia's plan is a dream, this poem is also a dream, and the romantic mirror is also a dream, so it is called a dream of red mansions. Yu Jin's criticism is also in dreams, especially for people in dreams. The structure and meaning of this book involve many characteristics, which are impossible for others to recognize except the author. For example, when we talked about the hard rock under Geng Qingfeng, there were a series of criticisms, saying that "Geng Qing" was really "loving the root" and "falling in love with the root, so it didn't help the sky", and "twelve feet tall should be twelve women, and only 24 feet can take care of the deputy twelve women, and 36,500 yuan can take care of the number of Sundays". This similar metaphor can only be supplemented by the author. However, throughout the book, the tone of the fat review, besides Mr. Yan Zhi's topic with some masculine tone, there are quite a few parts showing feminine tone, and often coincides with the tone and identity of the characters in the novel. For example, there are many comments on Baochai's attack on xiren and Pinger in the book. Critics often put their identity in a ditch with the characters in the novel and say something on behalf of the characters in the novel that has not been revealed. For example, Pinger put Jia Lian's hair away and pretended not to see Xifeng's irony. There is a comment: "I have three ideas", which obviously puts myself in a ditch with Pinger. When I say attack, I don't mean Pinger. In fact, xiren and Pinger are also related, belonging to the same literary fairy type. The relationship between Pinger and Baoyu is expressed through that branch. In Xiangling's words, it is husband and wife's return. There are a lot of comments in the article, which seems unreasonable at first glance. In fact, two people are competing with each other. For example, Baoyu threw a pen into bed after finishing Zhuangzi Nanhuajing, and when he woke up, he turned over and saw xiren and his clothes sleeping on the bed. There is a clip saying: the pen of the gods! Imagine that xiren didn't come to lie down together, and it didn't work out. It is even more impossible to lie together, but it is just a cloud on the clothes. Just between coming to lie together and not coming to lie together. Why is it magical? It's disgusting. Beautiful stone, easy to remember, the narrator is right. That's great. The approver can approve it. It can be seen that this is a dialogue between Ms. Yan Zhi and the author about the sentence "Aroma sleeps in bed with clothes on", from which we can also see the corresponding relationship between Yan Zhi and aroma. From the literal interpretation of Red inkstone, we can also see some clues. "Fat" corresponds to a woman and "inkstone" refers to a stone. We know that the author has always called himself a stone, and this Zhai naturally corresponds to a couple's nest. From the analysis of the hitter, we can know that the prototype of the servant girl behind the hitter and Cao Xueqin are husband and wife, which is revealed in the novel through Pinger's righting and Dai Di's marriage. From the origin of the attacker's name, we can also see that she has made the greatest contribution to the author's book writing, and is likely to be responsible for copying, proofreading and evaluating many components. In this sense, it is also necessary to put the word "fat" in front. Another place worthy of textual research is that Liu Huilan, the prototype of Xiren, died before Cao Xueqin, and the author corrected some mistakes in understanding the structure of the novel. These comments don't seem to come from Liu.