Cao Xueqin lived in Nanking in the 18th century. The Cao family had been wealthy, holding the office of Commissioner of Imperial Textiles, but by the time Cao Xueqin began this epic his family had fallen out of imperial favor and he was living in poverty near Peking. “My only wish is that men in the world below may sometimes pick up this tale when they are recovering from sleep or drunkenness, or when they wish to escape from business worries or a fit of the dumps, and in doing so find not only mental refreshment but even perhaps, if they heed its lesson and abandon their vain and frivolous pursuits, some small arrest in the deterioration of their vital forces.” Similarly, the novel tells the story of a grand family, the Jias, and their triumphs and travails over the generations. ““The extreme of adversity is the beginning of prosperity” — and the reverse of that saying is also true. Honour and disgrace follow each other in an unending cycle. No human power can arrest that cycle and hold it permanently in one position. What you can do, however, is to plan while we are still prosperous for the kind of heritage that will stand up to the hard times when they come.” The story mixes an authentic realism of everyday Chinese upperclass life in imperial China with elements of fantasy, such as talking stones, magical monks, and witchcraft. “This object comes from the Hall of Emptiness in the Land of Illusion. It was fashioned by the fairy Disenchantment as an antidote to the ill effects of impure mental activity. It has life-giving and restorative properties and has been brought into the world for the contemplation of those intelligent and handsome young gentlemen whose hearts are too susceptible to the charms of beauty."
Cao Xueqin’s first volume follows Bao-yu in his adolescence, the grandson and favorite of the Jia family matriarch, and a boy born with a mysterious jade stone stuck in his mouth. “When they celebrated the First Twelve-month and Sir Zheng tested his disposition by putting a lot of objects in front of him and seeing which he would take hold of, he stretched out his little hand and started playing with some women’s things — combs, bracelets, pots of rouge and powder and the like.” The story also meanders through a huge cast of characters, from minor relatives, to a bevy of servants and hangers-on. “Though I am so much richer and more nobly born than he, what use are my fine clothes but to cover up the dead and rotten wood beneath? What use the luxuries I eat and drink but to fill the cesspit and swell the stinking sewer of my inside? O rank and riches! How you poison everything!” The plot contains poetry, epigrams, song lyrics, riddles, calligraphy, priceless heirlooms, love intrigues, premature deaths, backstabbing family members, and plenty of family feasts. “Truth becomes fiction when the fiction’s true; Real becomes not-real when the unreal’s real.”
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