The Dream of the Red Chamber: Hung Lou Meng, Cartea 1

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CreateSpace Independent Publishing Platform, 2017 - 286 pagini
Dream of the Red Chamber, also called The Story of the Stone, composed by Cao Xueqin, is one of China's Four Great Classical Novels. It was written sometime in the middle of the 18th century during the Qing Dynasty. Long considered a masterpiece of Chinese literature, the novel is generally acknowledged to be the pinnacle of Chinese fiction. "Redology" is the field of study devoted exclusively to this work.The title has also been translated as Red Chamber Dream and A Dream of Red Mansions. The novel circulated in manuscript copies with various titles until its print publication, in 1791. While the first 80 chapters were written by Cao Xueqin, Gao E, who prepared the first and second printed editions with his partner Cheng Weiyuan in 1791-2, added 40 additional chapters to complete the novel.

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Born into a wealthy clan of bondservants to the Manchu imperial family that for three generations had controlled China's textile monopoly in Nanking, Cao Xue Qin (also known as Ts'ao Chang) spent his childhood and adolescence in a large extended family surrounded by opulence. When Cao was 13, in 1728, the Yung-cheng emperor, suspicious of the Cao family's possible ties to rival claimants of the throne and dissatisfied with their performance in Nanking, confiscated the family property. The family was forced to move to Peking and spend the rest of their lives in greatly reduced circumstances. In his lonely middle years, Cao comforted himself by composing the brilliant long novel known as The Dream of the Red Chamber (1792) and also as The Story of the Stone. The work is both a nostalgic recreation of the golden world of his childhood, and a Buddhist and Taoist warning that worldly achievements and material possessions are vain and unenduring. The last 40 chapters of the 120-chapter novel were written or edited by a second author, Kao O [Gao E]. That Manchu nobleman more or less followed Cao's original intentions, probably worked from rough drafts of Cao's. However, there is some evidence that Cao originally intended the work to end even more starkly and tragically than it does. Political prudence, however, made it necessary for Kao O to tone down what might have been perceived as criticism of the family's harsh treatment by the emperor.

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