Since Cheng Weiyuan and Gao E started to engrave A Dream of Red Mansions in 179 1 and 1792-Hu Shi named these two earliest engravings Cheng Jiaben and Cheng Yiben respectively-the engravings have mushroomed in the past two hundred years. It is worth mentioning that Yu Jinyuan, reprinted in the late Qing Dynasty and prefaced by Wang Xilian, was written for Wang Ben. A Dream of Red Mansions, reprinted on the basis of Qi manuscripts, is for Qi manuscripts.
In recent years, in addition to reprinting old paintings, Chinese mainland and Taiwan Province provinces have also photocopied various manuscripts, which is particularly refreshing. Due to the convenience of research materials, the number of professional and non-professional redologists studying redology has also increased. In the mid-1960s, the author did some statistics for the Chinese Library of Columbia University-there were no fewer than 300 registered scholars, and there was no shortage of them.
At that time, because the school was well funded, I made up my mind to copy and carve different versions of A Dream of Red Mansions and related works! Unavailable copies, rare copies, rare copies, etc. , will be photocopied on microfilm. People who love books are poor and unable to collect a book, but they are pregnant with huge sums of money and spend a lot of money to collect all the wonderful books in the world Among them, fun can't be the humanitarianism of outsiders.
The author originally planned to compile an annotated bibliography and a long preface after the collection, so as to teach the same text. Later, although foreigners kicked me out of the book market, my ambition was not realized-in fact, the rare books collected by the author for the university in those days are priceless today and are the "school treasures" of the university today-the bibliography of A Dream of Red Mansions collected by us for Columbia University is still one of the famous books in the world today. Many years ago, when Mr. Zhou Cezong told me that Qu was interested in holding a world redology conference and asked me to write a happy article, I made a special trip to Columbia University to visit the old collection. I found that although some dilapidated old books were taken away by the library because of excessive drying, and a few fell into the hands of elegant thieves, there are still as many as 23 different versions of the collection copying system. There are more than 100 other auxiliary works, which is enough for Dont Ask For Help, a "doctor to be awarded" in Redology, to finish the first draft of the thesis.
At the beginning of this manuscript, I want to use the Qianlong 120 copy copied by Beijing People's Literature Publishing House 1963 as the background. This manuscript is obviously the manuscript of the original elevation engraving, and a book only needs to be copied and engraved. Because all I want is the story itself, so many comments under the system of Zhiyanzhai are not directly related to this topic.
However, this photocopy is a "rare edition", so it is difficult for ordinary readers to check this edition correctly, so I decided to use the elevation of A Dream of Red Mansions published by Beijing People's Literature Publishing House 1974. Although this book was published in the era of the Gang of Four, the text in the book has been properly checked by various versions, with footnotes and proofreading notes every time. Although these proofreading notes are also rough, the whole book is a usable transcript.
However, although Gao E is not a first-class writer or poet, he is a first-class literary editor. Literary editing is a special industry in the field of writing and publishing. A person engaged in this industry should have considerable cultivation and vision for literary writing, but he does not have to be a good writer or poet himself. A really good writer and poet can't eat this line of work.
In today's America, all publishers adopt this writing technique. New york's "Yellow Book Phone Book" can find dozens of people-Gao E is such a first-class literary and technical talent.
In addition, any writer, big or small, including Cao Zhan, often has shortcomings that he is not aware of. He needs another master to participate in his works, so Cao and Cao can also be said to complement each other.