Both Journey to the West and Dream of Red Mansions have Nuwa Stone, but there are obvious differences between the two. These two magical stones, made by Nuwa to mend the sky, are incarnated as Monkey King and Jia Baoyu respectively, and play different roles in the story. The most striking difference lies in their location: the Nuwa Stone in Journey to the West is located on the top of the aura-filled Huaguo Mountain, while the Nuwa Stone in the Dream of Red Mansions stands on the nonsensical cliff of the Great Wilderness Mountain, which contains the metaphor of "absurdity" and "love root".
There are also obvious differences in morphology between these two Nuwa stones. The Nuwa stone in Journey to the West is three feet six feet five inches high, with a circumference of two feet and four feet, and is accurate and mysterious according to the proportions of Zhou Tian and the political calendar. In contrast, the Nuwa Stone in the Dream of Red Mansions is even larger, with a height of 12 zhang and a square meridian of 24 zhang, and it is astonishing that the Wa Huang clan only used 36,500 pieces, leaving only one unused. This shows a difference in quantity, as well as the resentment that the "Tongling Treasure Jade" is incapable of making up for the sky and has no talents.
The Nuwa Stone in the Dream of the Red Chamber is highlighted as the remnant of 36,500 and 1 Heavenly Stones, emphasizing the quantity and expressing Baoyu's loneliness. In contrast, the depiction of Nuwa Stone in Journey to the West emphasizes the passage of time, writing "three hundred and sixty-five degrees", in contrast to the "thirty-six thousand five hundred" of Dream of Red Mansions, which represent one year and one hundred years, respectively.
The 100-year history of Jiafu is closely related to the 12 hairpins in the Dream of Red Mansions. A hundred years after the establishment of Jiafu, the doomed decline of fate came as promised. In the dialogue between Jia Yan and Jia Yuan, it is revealed that a hundred years is a catastrophe, indicating that the Jia Mansion in Jia Baoyu's era is destined to experience a decline after a hundred years.
100 years was considered the limit of life in ancient times. The 100 years in the Dream of Red Mansions is exactly in line with this concept, and "a hundred years later" has become a traditional saying. In contrast, the "twenty-four" in Journey to the West emphasizes more on the important numbers in the calendar, expressing a sense of urgency of time.
In Dream of Red Mansions, "twelve" is an important number that appears in several key episodes, such as "The Twelve Hairpins of Jinling". This repetitive numerical element has a deep meaning in both ancient mythology and calendars. The number of materials used in Jia Baochai's "cold incense pills" is also twelve, further reinforcing the symbolic meaning of this number.
Conclusion: The mysterious power of Nuwa Stone, the subtle differences in Journey to the West and Dream of Red Mansions, foreshadow the development and themes of different stories. The fate of a hundred years and the mysterious symbols of the twelve are intertwined with a gorgeous and profound literary picture.
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This article deeply analyzes the Nuwa stone in the two classic masterpieces "Journey to the West" and "Dream of Red Mansions", showing their unique roles and symbolic meanings in the story. The author describes in detail the significant differences between the two mysterious stones in terms of form, location, and number in a comparative way, and digs deep into the literary connotations behind these details.
First of all, the article highlights the different roles of Nuwa Stone in the story. In Journey to the West, Nuwa is petrified into Sun Wukong, and in Dream of Red Mansions, she is incarnated as Jia Baoyu. This difference not only reflects the unique treatment of mythological elements in the two works, but also reveals the profound differences between the characters. Through this comparison, the reader has a deeper understanding of the author's intentions and ingenuity in character creation.
Secondly, the article focuses on the geographical location of Nuwa stone. The top of Huaguo Mountain and the nonsensical cliff and green ridge peak of the Great Wilderness Mountain represent the places of aura in the two works respectively, but the difference in geographical advantages injects completely different elements into the storyline and character development. This contrast not only highlights the artist's mastery of depicting the environment, but also presents the reader with the very different worldviews of the two works.
The article also takes the form and quantity of Nuwa stone as the starting point, and deeply analyzes its symbolic meaning in the story. Through the description of "Three Hundred and Sixty-Five" in Journey to the West and "Thirty-six Thousand Five Hundred and One Pieces" in Dream of Red Mansions, the author reveals the different emphasis on time and quantity in the two works, and then deduces the moral of Jiafu's century-old fate and Baoyu's lonely and helpless state of mind.
Finally, the article cleverly links the fate of a hundred years with the "Twelve Hairpins of Jinling" in the Dream of Red Mansions, highlighting the fate of a hundred years of decline and the important position of "Twelve" in literature. This deep excavation of digital symbols makes the reader's understanding of the work more in-depth and stimulates independent thinking about literary details.
Overall, this review** not only provides readers with a profound literary interpretation but also stimulates deeper thinking about the two classics by comparing and analyzing the various differences between Nuwa Stone in Journey to the West and Dream of Red Mansions. The author's in-depth analysis and unique insights make this review a nuanced interpretation of a literary work, bringing readers a more profound reading experience.
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