《红楼梦》幻笔写法及甲戌本第一回评点——脂评石头记甲戌本连载系列2

The Comments on Illusory Writing Style in Jiaxu Version of A Dream of Red Mansions——A Series of the Comments on Zhiyanzhai's Evaluation of Jiaxu Version 2

《红楼梦》借鉴了相当多的《西游记》《聊斋》等的神魔仙幻的笔法,可以称其为"神魔写实"的艺术手法,或按脂砚斋自己所说称为"幻笔"写法。其幻笔写法,不仅仅表现在进入到小说的正式情节——黛玉入府之前——对由石头变为宝玉的魔幻过程,绛珠仙草还泪的象征主义写法,以及进入到书中故事本体的在情节关键时刻出现的一僧一道,而且还体现在书中重要人物的分身法上。

A Dream of Red Mansions made use of quite a number of immortal magical writing style from Journey to the West and Liao Zhai（ghost stories） and so on, which can be summarized as an artistic technique of writing gods and ghosts, or also called ＂illusory methods＂ which is Zhiyanzhai＇s own words. This magical and illusory style was not only used in the formal plots,such as before Daiyu resettled at Jia Manor, the magic process of stone changing into Baoyu, the symbolism on Jiangzhucao（a magic herb） paying a debt of gratitude with her tears as well as a Buddhist monk and a Taoist priest that appears in the important plot in the book, but also presented in the magic art of body separation by the important figures in the book.