Labyrinth and Mirror —— Yuan in Jia Baoyu's Growing Kingdom

Hongyiyuan is one of the three residential courtyards in Grand View Garden. The other two courtyards are Daoxiang Village where Li Wan lives and Wu Heng Garden where Xue Baochai lives. Compared with the khaki color of Daoxiang Village, the rural style, the appearance of Wu Heng quadrangle and the interior of Dongxue quadrangle, Hongyi quadrangle is characterized by elegance and grandeur.

Why did Hongyiyuan design this style? Let's go back to the first novel:

When you tried to mend the sky by refining stones ... only one piece was useless, and it was abandoned at the foot of Qingji Peak in this mountain. Who knows that this stone has undergone spiritual training since it was forged? Seeing that all the stones have filled the sky, it is hard for me to be chosen, so I feel sorry for myself and feel ashamed day and night. One day, when I was in mourning, I saw a monk ... talking about the world of mortals; Hearing this, this stone unconsciously touched the normal heart, and wanted to go to the world to enjoy this splendor ... and longed for it ... The stone begged a monk to have a heart, take his disciples to the world of mortals, and enjoy them in that rich field and gentle village for several years, so that he would always admire Hong En and never forget him. A monk agreed: I am now working as a giant Buddha to help you. When the robbery is over, I will return to the essence and take this case.

The myth at the beginning of the novel defines Jia Baoyu's innate attributes, which is the root of Jia Baoyu's various words and deeds different from ordinary people. To fully understand Jia Baoyu, we must look for answers from the fairy tales at the beginning of China's novels. Unfortunately, most theorists do not pay enough attention to this.

My experience in reading the Red Chamber established the principle of giving priority to three works. First, the text precedes the author. Second, the text comes before the comments. Third, the text precedes the theory. That is to say, the author and the annotators such as Zhiyanzhai are still behind the text, let alone some theory? Once the text is generated, it has its own independence. At this time, even the author can only read as a reader, and even what the author wrote is contrary to his expectations. Even the archetypes of characters in novels can only be read as readers. Therefore, the fat batch is not completely reliable. It is certainly possible to interpret novels with literary theory or philosophical theory. For example, Wang Guowei interprets novels with Schopenhauer's philosophical theory, Li Jie interprets novels with existentialism theory, and some western scholars interpret novels with Freud's psychological theory. Although it can be unified and give readers a refreshing feeling, it has never entered the core of the text. The reason why we don't get into the core of the text is that once a certain theory is used to interpret it, the text will inevitably be selected, combined and interpreted according to the needs of the theory, which is equivalent to reconstructing the text and will inevitably lead to the distance from the original text, not the text itself.

Let's go back to Jia Baoyu's innate setting and sort out Jia Baoyu's life track: First, those who make up the sky become frustrated and extremely sad because they have no materials to make up the sky. They occasionally heard about the prosperity of the world and were eager to admire it, so they came to the world to be beneficiaries with the help of a monk's magic. When they have enough experience, "there are some pleasures in the world of mortals, but they can't rely on them forever, and there are' fly in the ointment, how good is evil'. Here, explain a concept. From a secular point of view, Jia Baoyu is "grown up". From the perspective of heaven, Jia Baoyu is "detached", and growing up is detached.

Jia Baoyu's four stages are briefly described as follows:

Those who mend the sky → those who are frustrated → those who enjoy → those who are deprived.

Jia Baoyu's Nineteen Years on Earth is the third and fourth stage of his life, the stage of his enjoyment and the stage of his detachment. As a monk said, these two stages are "pleasure", "fly in the ointment, many good things", "enjoyment" and "pain". In "short happiness and long pain", Jia Baoyu is both the mother of the third and fourth stage of "suffering", and there is a metaplastic relationship between them.

A monk took Jia Baoyu to "the land of prosperity, the home of poetry, the land of prosperity, the land of warmth and wealth". In the above four sentences, Zhi Yanzhai pointed out "Fu Chang 'an, Fu Guo Rong, Fu Grand View Garden, Fu Jiang Yunxuan" respectively. Chang 'an is synonymous with Beijing here, and Xuan is Jia Baoyu's bedroom before Yuan Dynasty. After the Grand View Garden, if there is any difference between the two except the order, I think Crimson Yun Xuan is not independent enough, and Hongyi Institute is not independent enough; Yun Xuan is not free enough, and Justin is also free enough; Yun Xuan didn't show her strength, but yee Justin did. In other words, the main field of Jia Baoyu's "Gentle Country" is "Hongyiyuan".

The external impression of Yikangyuan is as follows:

Out of the hospital, bypassing the moon cave gate made of peach blossoms and bamboo fences, you will see white walls and tiles, and green willows hanging around. The two sides of the courtyard are connected by corridors. There are several stones in the middle of the yard, with several plantains planted on one side and a Xifu begonia planted on the other side, like an umbrella, dripping with emerald light and blooming cinnabar. There are some stones in the yard, plantains are planted, and two cranes are pecking at feathers under the pine tree. Bird cages of various colors are hung on the cloister, and all kinds of fairy birds are different. There are five small buildings on the top, and a fresh pattern partition fan carved in color. There is a plaque hanging on it, with four big characters, and the title is "Hongyi Kuai Lv". The backyard is full of roses and treasures. The Qinfang River meets here and flows out of the Grand View Garden. There is also a white slate bridge across the Qinfang River, which can reach the other side. Jia Baoyu wrote in the poem "Hongyi Kuaiqing":

President Shen is very quiet and goes out every two.

Green wax is still rolling in spring, and red makeup stays up all night.

Hanging crimson sleeves on the railing, leaning against the stone to protect the smoke.

In the east wind of opposition, the master should be merciful.

Yi Hong Yuan has two outstanding features, one is that there are beautiful flowers and the other is that there are good birds. In the above paragraph alone, there are eight kinds of plants: peach, bamboo, willow, plantain, begonia, pine, rose and treasure. Baoxiang is a plant, which may be a rose or another name for apple blossom. The novel is decorated with a "full shelf", and Baoxiang should mean rose here. Even if you don't count the "bamboo" of "bamboo fence", at least seven kinds of plants are mentioned, and the isomorphism of * * * has become a colorful and charming plant world; "All kinds of fairy birds and different birds" and "cranes" together constitute an animal world that jumps and sings. This small world gives people a feeling of comfort, warmth, order, elegance and abundance. This kind of world is the external "gentle and rich" feature of Yee Hong Courtyard.

There is another reason why Yee Hong Courtyard is equipped with so many flowers and birds. Let's look at paragraph 35: These two women are talking about Jia Baoyu. They said that Jia Baoyu "talks to swallows when he sees them;" When you see fish in the river, you talk to them. When I see the stars and the moon, I either sigh or mumble. " The fifty-eighth time, Jia Baoyu saw "a big apricot tree, with all the flowers falling, thick and green leaves, and many small apricots the size of beans planted on it". He immediately sighed: "I was ill for a few days, but I failed apricot flowers!" " I don't feel' green leaves full of branches'! "Later, Jia Baoyu saw a sparrow flying, crowing on the branch and becoming dull again. He thought, "This sparrow must have come here when the apricot blossoms are in full bloom. Now there are no flowers and leaves, and it is crying. This rhyme must be the sound of crying. I hate that my grandfather is often away and I can't invite him. But I wonder if this sparrow will remember to fly here with apricot flowers for a while next year? "It can be seen that the flowers and birds in the garden are also creatures of Jia Baoyu's dialogue. Just like the grandfather can often understand the bird language, it is a side of Jia Baoyu's" love ". We can connect with novels for the first time. Shen Ying, Jia Baoyu's former waiter, watered the crimson pearl fairy grass with nectar in his dreams. His animism concept "all things are the same" is consistent from dreams to the world. It is also under the influence of this concept that Jia Baoyu saw the vastness and profundity of the world's "extremely sad and unchangeable things" than the average person, and his experience of "growing up" or "detachment" was broader and deeper than the average person.

Among many plants, plantain and begonia are undoubtedly outstanding representatives of colorful, which is also the reason why the hospital is named "Hongyi Kuai Green". Regarding Xifu Haitang, Jia Zheng introduced it as "Daughter Tang", which originated from an exotic species, but Jia Zheng did not recognize the rumor that Haitang came from "Daughter Country". Some experts have verified that "Xifu" refers to the western part of Guanzhong, which is now Baoji area. Even so, it is not very helpful for reading. What we should pay attention to is the begonia that appears as an "image", not the begonia itself. According to the novel, Baoyu nodded and said, "About a poet praises a scholar. If the color of flowers is scarlet, it is helpful to get sick, almost like a boudoir, so it is named after' daughter'. I want to be serious because I have been heard by the common people in the world. " It means that Xifu Begonia presents a graceful posture of women, and the world can't help but look forward to peanut meaning and say don't take it seriously. Baoyu really learned a lot from his miscellaneous studies. Facing the exotic flowers and trees, he talked about them everywhere in Kan Kan, and he was quite approachable. Regarding the tablet, Baoyu said, "There are two plants here, Jiaotang, which means red and green. If you only talk about bananas, there will be no landing; If you just say Tang, then the banana will not land. " It's best to have the title of "red fragrant green jade", which has the best of both worlds. Yuan's "Banana and Pond Two Plants" is not surprising at all. The ancients pursued the beauty of natural harmony and decorated their homes with various vegetation. However, the characters in A Dream of Red Mansions are exquisitely crafted and often hidden in small places, which is unexpected. Hongyiyuan has become Baoyu's residence, and everything in it seems to be endowed with special significance, which also makes the interpretation of A Dream of Red Mansions fall into a strange circle of endless speculation.

For example, a well-known scholar made a fuss about this begonia and thought it was a symbol of Shi Xiangyun. What about the evidence? On the occasion of "Shouyihong", Xiangyun happened to draw a begonia when drawing lots, echoing Tang Yao, the daughter of a red courtyard. It is concluded that Xiangyun is of great significance to Baoyu, and even hides the story of "Bao and Xiang met" after 80 times.

However, if "Haitang is like auspicious clouds", what does banana mean? According to experts' research, the "crane" is also related to Xiangyun (the shadow of the crane's cold pond, the shape of the crane). Here, the word "banana crane" appears in plain text, just like bananas and cranes. Why not "bananas are like auspicious clouds"?

Also, Baochai later became Baoyu's wife. Supposedly, there is always a kind of banana and soup related to her, but Baochai drew lots for a peony, and the peony disappeared in her residence. Daiyu picked a hibiscus, but the representative of Xiaoxiang Pavilion is a bamboo forest. Tanchun picked an apricot flower and planted it all over Daoxiang Village where Li Wan lived. Who can tell the "innuendo relationship" between Tan Chun, Li Wan and Xinghua? Fifty-eight times Baoyu pitied an apricot tree and thought, "I was ill for a few days and failed the apricot tree." Did he fail Li Wan or Tan Chun? In addition, the thirty-seventh Haitang Poetry Society was established, and everyone took different names. Tan Chun said: "I like bananas best. Let's call them' banana guest appearances'." Bananas have become "symbols of exploring spring". Therefore, the so-called "begonia" seems reasonable, but in fact it is partial and comprehensive, and it can't stand scrutiny at all, let alone the evidence that "the bag meets the item".

In China's traditional cultural concept, both bananas and soup can be compared to beautiful women. Banana and Tang Zhong are in Hongyi Garden, which implies Baoyu's habit of "loving red". We can't confine ourselves to the correspondence between women and flowers in Shouyihong once. It's just a dinner party, and it's also the author's group bedding for women. The original intention is not to construct the specific image of "flower refers to daughter" in the book-a flower refers to jane doe.

If there must be a reference, considering the overall conception of the novel, "two plants in Jiaotang" should be the phenomenon of "firewood and Dai coexist" in the fifth lyric, which implicitly refers to firewood and Dai respectively. If the banana is Daiyu, the evidence is that there is a banana in Xiaoxiang Pavilion, and there is a handkerchief between Baoyu and Daiyu to pass on poems, which is similar to "the banana leaves pass on books". There are also differences in color. It is considered that the five elements of Daiyu belong to wood, and the main color is "green", so the banana refers to Daiyu, but Baochai belongs to gold, and the main color is "white". Where is the "white" of Haitang? Some people say, didn't Baochai sing Bai Haitang? However, in the activities of Haitang Poetry Society, besides Baochai, there are girls Tan Chun and Daiyu, and crazy poet Shi Xiangyun. She also wrote two songs. Moreover, the begonia in Yihongyuan is "red", which is also inconsistent with Baochai's five elements.

Why are all kinds of interpretations difficult to be comprehensive? Because, in the book, flowers are used to describe women, but there is no exact reference. Perhaps a hairpin mainly corresponds to a flower, but in another scene, its corresponding relationship can also be transferred accordingly. In other words, this direction is not unique. The "flower" in the book, like the "golden jade", belongs to a special literary symbol. According to the needs of the plot, it has its specific meaning or general meaning. Just as Xifeng said, "You are also a jade, and I am also a jade", sometimes it even becomes a symbol of a group.

Banana and begonia are both green leaves and safflower, which are extremely beautiful plants. It is difficult to separate them from each other from the cultural level, just symbolizing "plantain and soup" and symbolizing the unity of firewood and Dai. This is also a difficult choice in Jia Baoyu's mind, and it is a choice he must face in the process of "growing up".

Hung Yi's "Several Stones Arranged in the Courtyard" is regarded by most researchers as an "object image" of Jia Baoyu's predecessor. It seems reasonable, but it is still doubtful after a careful push. First, what Nu Wa abandoned was a "stone" dotted with several stones. So, which one was abandoned by Nu Wa? Or, why should we change from a whole piece to several pieces? Second, a monk and a monk have turned that stone into a treasure-"psychic Baoyu". This stone is born with Jia Baoyu, and it is Jia Baoyu's "inner elixir". It cannot be separated from the body day and night. Why would Yuan have another body? Further derivation is more difficult to explain. Wu Hengting Courtyard is surrounded by big stones. Isn't Jia Baoyu trying to protect Xue Baochai? In ancient courtyards, for the benefit of nature, it is common to dig ponds to divert water and pile up soil and stones. It's no use reading too much. There is no need to make a fuss about the rocks in Yee Hong Court.

The status of Yee Hong Courtyard in Grand View Garden deserves attention. The novel says: "Qin Fangxi meets here and flows out of the Grand View Garden". Where is this? Near the gate of the Grand View Garden, in the southeast of the Grand View Garden, the Qinfang River flows out of the garden. Here's a brief explanation. Because some descriptions in the article are slightly contradictory, there are many disputes about the orientation and layout of the Grand View Garden. As for the two most popular versions, one thinks that Hongyi Garden is located in the southwest corner, and the other thinks that Hongyi Garden is located in the southeast corner. However, according to the description given in the article, it can be proved that Hongyi Garden is located in the southeast corner. The following is the most obvious description: In the seventeenth time, when Jia Zheng and others visited the Grand View Garden, they saw a Qingxi at the flower gate of Hongyi Garden. Jia Zheng puzzled and asked where the water came from. Jia Zhen replied, "It was from that gate to that hole, from the northeast mountain to that village, and opened a fork to the southwest. Go out from under that wall. " Therefore, we can be sure that Hongyi Garden is located in the southeast corner of Grand View Garden, which is the closest place to Xiaoxiang Pavilion in the southwest corner. Both of them are quiet places in the garden. Why do you want to arrange the garden in this place? First, according to the ancients' concept that "the sky leans northwest and the ground sinks southeast", the southeast is the lowest place, and Baoyu is the lowest place in the garden. He is a practitioner of his own philosophy of "daughter first" and "daughter is the most precious"; 2. Located at the entrance of the Grand View Garden, Baoyu is the patron saint of the Grand View Garden and Baoyu is the patron saint of his daughters. Third, Baoyu became a witness to the lives of his daughters at the exit of Qin Fang. Because Jia Baoyu believes that "a daughter is flesh and blood made of water", Qin Fangxi is equivalent to the river of her daughter's fate.

The main building of Yee Hong Courtyard is the "Small Fifth Courtyard". This statement is vague. How many rooms are there? The common view is that there are two rows of houses, the first row has three rooms, the middle is open, and the second row has five rooms, one more than the two sides of the first row. The back door is accessible, and there is a corridor between the two rows, which is closed. Both rows of houses are integrated.

The first describes the internal Yuan, from the perspective of Baoyu and his son:

Say, attract people into the room. I see that these rooms are different from other places, so I can't tell the intervals. Originally, all sides were carved with exquisite wooden boards, or "a hundred bats floating in the clouds", or "three friends of the old cold", or landscape figures, or feather flowers, or collections, or Bo Gu, or various designs of Wanfu Wanshou, all carved by famous artists and sold with lottery money. There is a storage room, a tripod, a pen and an inkstone, a vase and a bonsai. There are all kinds of flowers, or the sky is round, or sunflower leaves, or a series of half walls. It's really colorful and exquisite. Shure five-color yarn paste is actually a small window; Shuercai silk covers lightly, but it is a secluded household. The wall is covered with grooves dug in the shape of antique toys. Such as piano, sword, hanging bottle, desk screen, etc. Although they are hung on the wall, they are all flush with the wall. Everyone praised: "How exquisite! It's hard to think about it! " It turned out that Jia Zheng and others came in and lost their way before they entered the two floors. There is a door on the left and a window on the right. When they go to the front, they are blocked by a book. Go back, there are screens, and the door diameter is feasible; When I arrived at the door, I suddenly saw a group of people coming in, all looking like themselves, but just a big glass mirror. When I turned the mirror, I saw more doors. Jia Zhen said with a smile, "Master, come with me. Going out from this door is the backyard. Going out from the backyard is closer than the first one. " As he spoke, he turned over two layers of brocade in the gauze cabinet and came out. The yard is full of roses and treasures.

In the second long description, we can see from Granny Liu's eyes that Granny Liu crossed the stone, walked along the stone road, turned two corners and saw a door. Then I entered the door and saw a girl coming face to face, all smiles. Grandma Liu smiled quickly. "The girls left me here to meet you." I called, but I felt that the girl didn't answer. Grandma Liu came and took his hand, and with a bang, she hit the partition and hurt her head. On closer inspection, it turned out to be a painting. Grandma Liu thought, "It's so vivid." While thinking about it, I touched it with my hand and it was flat. I nodded and sighed. When I turned around, I found a small door with soft curtains. Grandma Liu lifted the curtain and went in. When she looked up, she saw that all the walls were exquisite. Piano, sword, bottle and stove are all stuck on the wall. Brocade cages, veils, gold beads, and even bricks on the ground are all green and chiseled, which dazzles her. She found the door to go out. Where is the door? A book on the left and a screen on the right. Just turned around from behind the screen, only to see his mother meet him from the outside. Granny Liu was surprised and quickly asked, "You think I'm not at home these days, so you called me here? Which girl brought you in? " His in-laws just smiled and didn't answer. Grandma Liu smiled and said, "You are too old to see the world. Look at the flowers in this garden, you won't wear them anyway. " His in-laws didn't answer. Then I suddenly thought, "I often hear that rich people have a kind of toilet mirror, and this is me in the mirror." Say that finish, I stretched out my hand and touched it, and then looked at it carefully. Yes, the mirror is embedded in the middle by carving empty rosewood walls around it. Because he said, "This has been stopped. How can we get out? " He just touched it with his hand. This mirror was originally enclosed in a western machine and can be opened and closed. Unexpectedly, Granny Liu's strength coincided with her groping, so she broke the news, covered the mirror and exposed the door. Grandma Liu came out pleasantly surprised when she suddenly saw a pair of the most exquisite bed curtains. At this time, he was already drunk and tired, so he sat down on the bed and just said he had a rest, but he couldn't control himself. He was shaking his head and squinting. He fell asleep in bed.

The second category is sporadic description, which is scattered in various chapters of the book and is a supplementary extension of detailed description. The 26th time, "(Jia Yun) looked up and saw the splendid article, but he didn't see Baoyu there. When I turned around, I saw a big mirror on the left. From behind the mirror, two maids of fifteen or sixteen turned out and said ... I walked into a blue tulle kitchen. I saw a small paint bed with red pins and golden curtains. " Chapter 36: "Baochai came to the room along the veranda and saw the maids lying on the outer bed. Turn ten bouquets and come to Baoyu's room. " On the thirty-seventh time, I saw that the vegetable trough on my son was empty. That boy hasn't collected a pair of beaded bottles from his head yet. "Fifty-first time:" You put down the mirror cover and put it on the rowing boat. You are taller than me ... suddenly I heard Qingwen say this, so I got up and went out, put down the mirror cover and put it on the message ... I heard the bell ring twice on the outer ten-grid, and the old nurse who was in the outer room coughed twice. "Back to fifty-four times" So everyone crept into the mirror wall and saw xiren and a man leaning against the kang opposite. "The 56th time" is your lost dream. Rub your eyes and look carefully. This is your reflection in the mirror ... now you have a bed in the big mirror. Sometimes it's okay to put down the mirror cover ... it's not as serious as going to bed tomorrow. "Fifty-seventh time," Baoyu saw a golden ocean bicycle boat on the ten brocade lattices. "

Through these wonderful indoor descriptions, we can truly feel that the indoor space of Justin's main room is dreamlike and confusing, and the most prominent one is the word "magic", which is simply a maze.

The reason why Yee Hong Courtyard is a maze is mainly based on the following four reasons:

First of all: Justin has too many temptations. There are many kinds of carved patterns in the house. There are all kinds of antique treasures, leveling books and swords on the chessboard; The tulle gauze skirt is colorful and dazzling. All this is really gentle and rich, but for a growing teenager, it is full of temptations and people are addicted to it.

Secondly, Yee Hong Yuan is too fat. We know that there are at least a dozen girls with different personalities, such as Xiren, Qingwen, Sheyue, Qiuwen, Bi Hen, Redjade, Si Er and Fangguan. And they are all beautiful and lovely, fat, pink and fragrant, charming and angry. Although Baoyu pretends to be a protector, he is not an admirer. Even the decorative paintings are girls. Even if these girls don't seduce Baoyu, Baoyu's self-indulgence is inevitable. There are all kinds of tragicomedy in the world, such as: the 25th time is far from flowers, the 26th time Daiyu sobbed under the shade of flowers, the 31st time Qingwen tore a fan, the 44th time Pinger put on makeup, the 52nd time Qingwen patched up her fur, the 63rd night banquet and the 77th time Haitang was old. These events will more or less be the reason why Jia Baoyu decided to leave Yikang Hospital.

Third, the indoor space is a maze. Justin's main room is a building with five rooms. In front of the five main rooms, three more rooms were added, called "Baoxia". This expands the indoor space. The Le Shou Tang in the Summer Palace adopted this architectural technique. The partition between indoor rooms in Yee Hong Courtyard is not sealed by walls, but separated by various flower covers and fans made of exquisitely carved wooden boards. There are warm pavilions, green cupboards and other partitions in the room, which penetrate each other in space, thus creating a psychedelic space effect in the limited indoor space. No wonder Jia Zheng and others "lost their way before entering the second floor". In such a space where scenery is everywhere and possibilities are everywhere, it seems that there are many roads to choose from. In fact, the way out is extremely limited. Although there are many forks, there will always be only one for you. This kind of house structure symbolizes that Jia Baoyu faces countless road choices in a maze full of temptations.

Fourth, mirrors create illusions. There are many places to write mirrors in the novel. Jia Zheng saw it, Grandma Liu saw it, Jia Yun saw it, Qingwen and Musk talked about it, and Baoyu and Musk also saw it. Chapter 57 of the novel: Aroma calls herself while listening to his dreams. She woke him up and asked with a smile, "Where is Baoyu?" At this time, although Baoyu woke up, he was still in a trance, because he pointed to the door and said, "I just went out." Aroma said with a smile, "That's your dream. If you look carefully, that's your reflection in the mirror. " Baoyu looked forward and smiled at the big mirror embedded opposite him. Someone gargled with a mouthwash teapot for a long time. "Strange," said Musk, "the old lady always told me that there should be no more mirrors in the villain's room. The villain lost his soul, and he couldn't look at the mirror anymore, so he slept in a panic and dreamed. ..... "The refraction of the mirror makes the labyrinth of the garden more illusory and chaotic. On the other hand, for children and growing Baoyu, the mirror adds fantasy, which is difficult to distinguish between true and false. Yee Hong Courtyard is even more bizarre and difficult to get out of.

The design of Yi Hong Yuan is not only the realization of the "enjoyment" requirement of the stubborn stone, but also the realization of Baoyu's "from color to emptiness". Its color is "everything in the world" that makes people blind, and its color is "affectionate daughter" that makes people blind. When he put these things down, there is the possibility of "turning and running". When Jia Baoyu was able to "perceive" these "illusions", he completely walked out of the "color" world of "gentle and rich country" and returned to the "empty" realm of life itself, completing his experience of "robbery" on earth and becoming a monk.

The symbolic meaning of Yee Hong Courtyard is far greater than the actual meaning. It is the growth space tailored by the author for Jia Baoyu, and the perfect combination space of Jia Baoyu's innate attribute (enjoyment) and acquired attribute (detachment).