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Cao XueqinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Referred to both as the stone and the jade, but more often as the jade, this is the magical rock that the fairy Disenchantment transforms and sends to Earth to work its magic among mortals. It arrives in Bao-yu’s mouth and indicates his special fate as a romantic with the potential for supreme goodness or supreme evil. The stone connotes the magic of the cosmos as well as the predetermined fate of the characters. It also indicates a high concentration of karmic energy, which means that particularly intense events, both good and evil, will occur in its vicinity. Other objects become powerful when they are compared to the stone, for instance Bao-chai’s gold locket, which shares a similar inscription. The jade is essentially a talisman from the cosmos, and it indicates the particular presence of fate and otherworldly influence. Although it is seen as a protective charm, it brings with it both good and bad attention.
Monks appear throughout the novel as a symbol of spiritual teachings and spiritual wisdom. In many instances, they are discussed in reference to Impervioso and Mysterioso, who are rarely named but are known by their descriptions—as disheveled, “disreputable” looking characters. However, monks are a larger symbol in the novel and signify the importance of devotion and spiritual knowledge. Jia Jing, for example, is a monk. He is said to be close to achieving immortality, and he is one of few family members who don’t engage in the dramatic antics of life in the palace. In the novel, monks offer the possibility of healing from illness, by removing oneself from the world. This symbolizes the power of spirituality at its core, not only on the cosmic level, but also on the level of the physical body. The monks are indicative of a higher calling beyond mortal life and of the power of devotion to spiritual practice.
Riddles appear in the earliest and latest sections of the novel. They indicate fated knowledge not immediately clear to their mortal speakers. The first riddles appear in the Land of Illusion, in the hands of the fairy Disenchantment. The fairy understands their significance and the secrets they hold, but their meaning is lost on Bao-yu, who reads them without taking any hints. Bao-chai makes a note about Zen phrases and their difficulty to mortal readers, saying, “Those Taoist writings and Zen paradoxes can so easily lead people astray if they do not understand them properly” (441). Later, the girls write riddles at Grandmother Jia’s riddle party, and Jia Zheng is struck by their sadness. He thinks to himself, “[A]ll the girls’ verses contained images of grief and loss [...] it is almost as if they were all destined to be unfortunate and short-lived and were unconsciously telling their destiny” (449-50). Here, riddles clearly indicate a knowledge that is fated, but not immediately clear to mere mortals. They contain hints, however, for the reader, who knows to anticipate their foreshadowing and can interpret their convoluted meanings.
Perfume and fragrance appear frequently in the novel, particularly around beautiful women and places of celestial significance, like the Land of Illusion. They symbolize lust and the illusion of attraction; like scent, lust and attraction are fleeting, only a brief firing of the senses. The first, and most vivid depiction of fragrance, is in Qin-shi’s bedroom, where Bao-yu goes to sleep and is transported to the Land of Illusion. Here, he has his first sexual encounter, equating strong fragrances with lust and attraction. Later, Bao-yu becomes obsessed with a fragrance on Dai-yu’s sleeve that was so intoxicating it “caused one to feel rather limp” (394). Bao-yu’s other love interest, Bao-chai, takes “Cold Fragrance Pills,” which give her a heavenly aroma that also attracts Bao-yu’s attention. It is also significant that Bao-yu’s two favorite maids, one of whom he first has sexual relations with, are named Aroma and Musk, after scents. Each of these instances connect the experience of perfume to female beauty and lust, as well as to illusory sensations of attraction, which are often quick to pass.