作者：周敏 编辑：冯仍 校对：冯仍

之一：红楼梦癸酉本的浪潮是新八旗下民心的暗涌

2026年3月19日，拥有500万粉丝的网红“吃瓜蒙主”的抖音帐号被封禁。她以索隐派视角解读《红楼梦》癸酉本而短时间声名鹊起，直播间人潮汹涌。被全网封禁后，她所有的帐号包括别人搬运她内容的帐号，以及一些宣扬汉文化的帐号一并被封。她本人还现身发布了一段认罪视频，视频里表情僵硬，照本宣科地朗读。她宣读的题目是《从大一统到筑牢中华民族共同体意识》。

她被封禁的罪名就是以反清复明的角度解读红楼梦癸酉本。

她的被禁，如果仅仅当作关于清朝的新疆西藏和满洲东北的疆域传承合法性来理解，就会错过它背后真正的重量。在中国，每天都有网络帐号因为触及了中共的逆鳞而被封掉。但是这一次，动用了全套政治处理程序，包括舆论定点打压，官方媒体出面点评，当事人公开念稿，随后便全网清零，不留一点点痕迹。这套程序，通常只用于触碰到真正核心神经的案例。

一本近几年横空出世的布满争议的古典小说新版本，何以触碰到了可怕的核心神经？要回答这个问题，就要先来弄清楚，那泱泱五百万人，聚集在一个解读文学的直播间，究竟他们在寻觅什么？

红楼梦从来就不是没落贵族的爱情故事。书的开篇就说得很清楚：此书“将真事隐去，以假语村言”敷演。书里正面描述的繁华其实是背景，隐写的毁灭与凋零才是主题。正如书的另外一个名字：风月宝鉴，只能看反面，不能看正面，不然就被作者骗了去。

索隐派的核心主张是，这是一部以隐语写成的亡国史书。黛玉等人隐喻崇祯与南明，宝玉是传国玉玺与汉人正统，大观园是凋零的华夏文明。那些精心设计的谐音、象形、诗词典故、草蛇灰线，是一群亡国之人在文字狱的刀口上，把真相隐藏进了另一个不相干的故事里。这套隐喻系统的深邃与复杂度，远远超过一般读者的想象。它把密码编进了汉字结构和读音、文学易经天文中医五行和人道天道的宇宙观，是把整个华夏知识体系作为密码本，实在是呕心沥血多年才能写得出来。当你意识到密码已经编进了汉字的字形本身，你就明白了作书人的绝望有多深，有多不甘心。感叹的是，这些信号穿透了几百年的封锁，还是被今天的一些人接收到了。

风月宝鉴这个名字，繁体的风字里面有虫，隐喻后金满人；月是明的右边，隐喻大明。鉴这个字，就是让读者能以史为鉴，可以知兴替，读懂书里华夏文明最后一次的荣与辱。这个书名本身，就是一把藏在字形里的刀。那句让人送命的诗——清風不识字，何故乱翻书，杀机不只在讽刺满人粗鄙，更是那个風字里藏着的虫。在政治高压的时代，无论是满人八旗还是新八旗，连字本身都是武器。

隐喻系统之一是按五行来构建。五行里的金对应白色、肺、秋天、草木枯萎、霜冷肃杀等，书中这些元素无一不是指后金即满人，这已经不是暗喻而是明指了。人参的隐喻贯穿全书始终。人参谐音人身，指明朝军队和反抗力量。贾母早年说”人参咱家多得是”——那是明军尚有元气之时；到了后来，家里只剩陈年须末，已经失去效力——那是南明最后时刻，已经无药可救。这条线从书的开头埋到结尾，贯穿始终，每一次人参出现都是一次文明较量的隐喻，直到覆灭。

这套隐喻系统，在文化水平普遍极高的明遗民中几乎人人皆知。脂砚斋批书时写道：”能解者方有辛酸之泪，哭成此书。”他说的不是欣赏喜爱，而是一个”解”——这是破译密码的动作。他在告诉后来的读者，这本书有一把锁，你需要解开它，然后心领神会。作书人与批书人，几乎是在明示读者：以史书读之，知道自己文明从此在暴雪之下白骨如山的真相。

但对于今人，这套密码已经失去了大部分接收者。不是因为现代的中国人不聪明，是因为那个培育出这种文化水位的土壤，被系统性地破坏了将近四百年。文化素养已经被降格到四百年来最低点。满清的文字狱摧毁了敢于说话的人，中共的教育制度摧毁了能听懂的人。两次打击，方向不同，结果一致。

这不只是一本小说的失传，这是一整个文明的失忆。这片广袤土地上整体的茫然与混沌，正是满清八旗与新八旗孜孜以求的。

之二：葬花吟至今依然是现代中国人的悼词，而并非过去时

一个拥有几百万粉丝且能进行深度思考的自媒体账号，不仅仅是一个简单的网络聊天室，已经变成了一个民间的精神社区。当成千上万的人在评论区里通过癸酉本达成某种心照不宣的政治共识时，这个账号就具备了准组织化的特征。中共对任何具有组织化雏形的东西都有着PTSD。它清空账号，封口，是要强制解散这个精神阵地，让所有人重新回到孤立无援的悲观状态。

每个中国人无论有没有看过这部小说，都知道黛玉葬花。你不得不感叹这个隐喻的生命力。几百年来，葬花已经被降格为痴情，对生命无常的感伤。其实这是一帮亡国之人，在给自己的文明收尸。不让落花入水——金生水，后金之水——是最后的尊严。入土为安，是拒绝被征服者的体系所吞没。葬花词里那句”质本洁来还洁去，强于污淖陷渠沟”，不是少女的心事，是一整个文明拒绝被异族体系吞没的绝望宣言。

癸酉本版本真伪，学界争议未决。但真伪对于我们的论点其实不重要。重要的是它提供的解读框架，在2026年的中国，为什么能引爆五百万人的共鸣。

这肯定不是一部古典小说突然流行起来，而是这套索隐的思路，提供了一种在高压环境下再一次命名现实的能力。当博主分析”内鬼开门、外敌屠城”，听众想到的是什么？当她细数大观园如何从繁华走向被抄，观众看到的是什么？几百年前的隐语，与今天网络上的”毒菜”、”西朝鲜”、”两百斤”、”皿煮”，是同一种语言的两个时代版本——高压之下，真相找不到直接的出口，就以隐喻的方式从地下渗出来。

几百年过去了，手法是一模一样的。这本身，就是这个国家最深的悲剧之一。

那种命名能力之所以令人如此渴望，是因为在它缺席的地方，人们甚至失去了表达自身处境的语言。一个没办法用正常语言表达的痛苦，是没办法反抗的痛苦，因为它无法被承认。癸酉本给了那五百万人一套词语。

五百万人聚在一起，是在读一部古典小说吗？他们是在做一件政权最恐惧的事：彼此辨认。一起在文字中围炉取暖、剖析自己的来龙去脉，这是在备份记忆：这些关于文明、历史与风骨的激荡，在网络之洋中，感受到了一丝属于华夏魂魄的温度。癸酉本这份“雪下的底稿”，作者们在今人看不见的维度里，静静看着那场雪，也看着自己的后人。希望这些后人即便身处鱼肉之境，也始终保有那份惊天动地的聪慧。

原子化社会的统治逻辑，依赖于让每一个人都相信自己是孤独的异类。但当五百万人通过同一本古书，感受到同一种疼痛——这种孤独感在一瞬间崩解了。人们发现：原来真的不止我一个人看到了这场雪。

清朝和中共费尽心机想让民众看“正面”的太平盛世。而癸酉本的解读和对今天中国现状的联想，就是那面强制转到背面的镜子，让你看清白骨，看清真相，而且这面镜子无法被砸碎。

这是封号令真正要消灭的东西。不是那位博主，她只是不经意间拨动了最核心的红线，更不是癸酉本本身，而恰恰是那五百万人之间刚刚建立的、那条细如发丝却真实存在的共识的神经线。

之三：新八旗，一个需要被说清楚的结构

理解这次封号，需要先理解一个词：新八旗。

清朝的八旗制度，是以血缘和军事功勋为基础的特权体系。旗人不事生产，由国家供养，在法律、经济、政治上享有凌驾于汉人之上的系统性特权。这套制度的设计逻辑，是在征服者与被征服者之间，永久性地建立一道无法流动的身份墙。

今天的中国，这道墙换了个德国思想+苏联体制的面孔，结构如出一辙。

苏维埃、太子党、红二代、军属、高干家庭——这个群体在政治准入、资本积累、司法豁免、教育资源上的系统性优势，与旗人制度有着真正意义上的结构一致性。习近平曾在内部场合将自己所在的群体称为”红色江山的天然继承者”——这句话的逻辑，与清朝旗人援引”祖宗武功”的方式，几乎一字不差。

更深的一致性，在于两者对待被统治者的基本态度。

《商君书》说：”国强民弱。故有道之国，务在弱民（这部旨在像羊一样驯化人民的酷法始作俑者商鞅最终也死于他亲手织就的那张法网之中）。清朝通过文字狱和薙发令把这套逻辑刻进人的身体。而当代政权更是打压道家儒家宗教信仰及乡土宗祠等中国传统文化，尊崇商君书的法家之酷法，通过无休止的肉体消灭反对声音、经济压力榨干个人时间，通过算法推送的碎片娱乐稀释注意力，通过全景式监控制造永久性的严查。

今天的手段高级精密了，目标没有变：把聪慧变成奴性，把自己的子民变成财产。

马戛尔尼1793年访华，见到的正是这种驯化的成果。他在日记里写道，在过去一百五十年里，清帝国”没有改善，没有前进，反而倒退了”。他把清帝国比作一艘破烂不堪的头等战舰，之所以没有沉没，”仅仅是由于幸运”。这段写于两百三十年前的文字，今天读来，字字都像是写给当下的。

1776年，亚当·斯密在《国富论》里描述中国的富庶，那个令欧洲人惊叹的东方文明的物质成就，是明朝及之前积累的底子，是那片被铁蹄踏过之前的土壤里自然生长出来的东西。斯密看见的是遗产。他不知道那个创造遗产的文明主体，已经换了主人。斯密心目中的中国，是1644年之前的中国。

1644年直到今天，这片土地的主人，并不是在它上面几千年劳作、生育、死去的那些华夏子民。

把清朝与中共并置，很多人会反驳：清朝再不好，是中国历史的一部分；中共是中国人建立的政权，怎么能算”外来”？

这个反驳混淆了两件事：人员的本土性与文明逻辑的异质性。

满洲人的身体从东北来，马列主义的思想从苏联来——似乎不同。但两者的性质是一样的，都不是中国这片土地自然孕育出的统治逻辑。他们在中国所做的事情，更是有一个共同的核心动作：系统性地摧毁华夏文明的自然生长能力。

明代晚期，中国正在发生某种内生的变化。江南市民经济的勃兴，李贽的异端哲学，徐光启与利玛窦的文明对话，宋应星《天工开物》对技术世界的百科式记录——那是华夏文明第一次从内部触碰到某种类似现代性的边缘。这颗从自身土壤里长出来的，刚刚破土。

然后清兵的铁蹄踏过来，把刚刚发出的萌芽连根拔起。

随之而来的就是薙发令，文字狱，是《四库全书》打着修书名义进行的系统性毁书改书。外来破坏者的目的就是对本土文明记忆的定向清除——强迫一个民族用身体的耻辱来内化征服的事实，然后用篡改过的历史告诉他们：我们一直都是这样的，这就是祖法，不遵从的就是大逆不道。

一百五十年后，马戛尔尼来访，他记录下了治理的结果。再过了五十年，鸦片战争。那艘巨大而腐朽的战舰终于沉没了。

然后是民国——四百年大雪中唯一短暂融化的片刻。鲁迅的手术刀，胡适的温润，陈寅恪的傲骨，西南联大在炮火里守护的那一点文明的火种。一时间犹如新星爆发星光璀璨，在思想与科学的各个领域争辉。民国的诞生是中国尝试转向现代主权国家的惊鸿一瞥。虽然后来陷入了黑暗，但在亚洲播下了“主权在民”的火种。这段微光乍现的乱世却是这片土地四百年来最接近自由的时刻。

然后1949年，第二场雪来了。

批孔、毁庙、文化大革命——同样不是简单的政治运动，而是对民国三十余年好不容易重建起来的文明自信的彻底摧毁。岳飞从课本里消失，鲁迅从课本里消失，先秦诸子从课本里消失，民国从课本里消失。留下的，是一片重新覆盖的白茫茫大雪。

这条线索的解读揭示的一个真相就是：文明的繁荣与权力的集中，在中国历史上，一直都是反比关系。每一次”盛世”，都是另一种意义上的荒原。每一次威权松动的”乱世”，反倒是思想与创造力最自由生长的时刻。温柔富贵乡与青枫林里鬼吟哦，盛世与饿殍，翻到背面看才是真相。

康乾盛世，是马戛尔尼眼中”半野蛮”的顶点。中共的伟大复兴，是另一种盛世叙事下的每一个普通公民的荒原。

文字狱与今天的管控体系相比，是原始工具对精密机器。文字狱是点对点的恐怖——抓一个人，杀一个人，震慑一批人，它的覆盖面有限。今天的系统是预防性的：在你开口之前，算法已经知道你想说什么；在你搜索之前，那个词已经不存在了。文字狱杀的是已经说出口的话，防火墙、禁止卫星接收、党禁报禁杀的是还没有被想到的念头。

奴役的工具精密了。奴役的本质没有变。这是外来的大雪对中华大地的无情覆盖。

之四：离岸的火种——台湾的文明备份

昨夜朱楼梦，今霄水国吟。薛宝琴的原形有索隐派认为一部分是影射郑成功。

1661年，郑成功率军渡台。

表面上这是军事撤退。本质上，这是华夏文明在满清全面覆盖大陆之后，第一次成功的离岸备份。他带走的不只是军队，是汉人的衣冠，明朝的历法，那一整套被清廷正在大陆系统销毁的文明符号。

1949年，这个结构以惊人的精确性再度重演。又一批人渡海而去，带走了故宫文物、大学教授、出版社的铅字与民国积累的文明基因。台湾在往后数十年里，安静地完成了一件大陆从未被允许做的事：证明中国人在没有极权压迫的条件下，可以建立体面、自由、有尊严的现代社会。

这才是台湾问题的真正核心。领土的争议是次要的，致命的是作为参照系的威胁。

只要台湾这个文明社会存在，”没有中共统治就会乱套”的谎言就无法彻底成立。只要海对面的灯还亮着，大陆人就有一个坐标，知道那条被覆盖了四百年的路，并非从来就不存在。

所以必须切断。必须封锁。不能让大陆人看见那面镜子。

多少次在这片海峡的天空和水面挑衅，还有传闻中共不只一次蓄意破坏台湾海峡海底光缆，这是想凿掉镜子的冲动——一个自知形象丑陋的人，第一个动作就是砸掉镜子，而不是洗脸。

清朝的迁界禁海，封的是人的身体。今天的数字长城与断缆阴谋，封的是国人的眼睛。

手段进化了，金銮殿的恐惧还是没变。

郑成功守住了台湾二十年，终究敌不过施琅的坚船利炮。但今天的离岸存储，比四百年前多了一个维度：分布在全球的华夏流亡者，用母语写作、思考、记录的人，是无数个轻量化的节点。这种文明的保存，不再依赖于某一块土地，而是依赖于共识。只要共识存在，文明就没有地址可以被查抄。

之五：暗涌的方向——从情绪到觉醒，有多远

我们需要诚实地面对一个问题：这股民心暗涌，到底有多大的政治意义呢？

坦白说，癸酉本热潮目前更接近于受压抑情绪的偶然地、本能地聚焦，而不是真正意义上的政治觉醒。这两者确实有着实质性的区别：情绪只不过需要一个发泄出口，觉醒却需要清晰的主动性的方向；情绪会慢慢地被转移和疏散，但是觉醒一旦形成，就具有自我繁殖的能力。

中共非常清楚这个区别，也非常清楚两者之间转化的可能性。正因为如此，才不等情绪演变为觉醒，就在第一时间切断。这是经验丰富的政治外科手术——会在肿瘤还是良性的时候就抓紧切掉。

但这种切除，也产生一个无法避免的副作用。因为每一次封号，都在向那些还没有完全觉醒的人隐晦地传递同一个信息：这里有什么东西，是政权不希望你看到的，对威权已经产生了威胁。每一次强制念稿认错的视频，都在让那些看懂了的人，对那个此账号不存在的图片背后的精神力量，产生更清晰的感知。

镇压反倒是最好的广告。恐惧是直白的语言。清朝的文字狱杀掉了无数文人，却没有杀死《红楼梦》。它以残本、抄本、口耳相传的方式活下来，然后在数百年后，一个有着五百万观众的直播间里，又掀起了让整个政治机器都紧张起来的浪潮。

这就是暗涌的力量之处。暗涌在表面上是看不到的。它在水面以下，在那些沉默的、原子化的、貌似已经被驯化了的个体内部，缓慢而持续地积累着势能。它可以被压制，被暂时驱散，但依然目睹那艘战舰的船体不可逆地在天道下腐朽着。只要内部的结构性矛盾还在加深，这股暗涌就不会消失。

它只是在等待，静静地拍打岸滩。

然后，是这篇文章必须提出来的一个问题。中共对索隐派解读的真正恐惧，并不是关于版本考证和关于疆域传承合法性的历史争议，而是在于：一旦那套”外来政权的大雪覆盖了华夏文明”的分析框架被接受，读者会自动完成一个思维动作——把这个框架从1644年，平移到1949年。

这个平移不需要任何人教。它会自动发生。然后那个问题就会浮出水面，再也压不回去：

大清，真的亡了吗？

尾声：记录本身，就是抵抗

《红楼梦》是在政治高压下完成的巨著。作者们用一生时间，在文字狱的刀尖舞蹈，把一个时代的真相隐藏到一个伤春悲秋的爱情故事里。他们预知了这本书不能公开流传，甚至可能最终不再有人能“解其中味”。但还是一边绳床瓦灶、噎酸韲吃苦菜，一边一灯如豆一字一血地写，润色了一遍又一遍。

然后那些在清朝密室里手抄《红楼梦》的人，也一样知道抄完之后可能无处可送、无人能解，他们还是抄了。这就是文化的传灯，明知不能而依然行。哪怕以后只剩一个人读懂，他们也甘之若饴了。

这多么像今天的一些中国人，那些举起写满愤懑的白纸的人，用谐音暗语在防火墙上凿洞的人，用VPN翻墙出来与世界连通的人。都知道账号随时可能消失，自己在严密的监视下随时会失去自由。他们还是紧紧秉持着这盏灯传下去。

记录本身，就是抵抗。不是因为它能立刻改变什么，而是因为它拒绝了遗忘。

在这个时代，聪慧是原罪。清朝杀掉的是提出“清风不识字”的诗人。中共抹除的是能读懂“末世悲歌”的自媒体。这种跨越时空的相似，想要达到的目的竟完全一致：必须让华夏民族的聪慧钝化。 它要求你只能把聪明才智用在赚钱、互害和赞美上，绝不能用在觉醒上。

一个能读懂《癸酉本》的民族是不可战胜的，所以它必须让这个民族不仅读不到真本，甚至连讨论真本的空间都没有。

如果网上的“大观园”也被抄没，如果那些试图记录真相的“石头”们被迫消声，这种数字化的焚书坑儒，最终会像清朝那样导致文明的长久停滞，还是会触发某种我们尚未预见到的、更高级或更顽强的文化传承？

一夜北风紧，华夏尽白头。四百年，山河冰封。这雪，一直下到了今天。

这场雪终有停下来的一天。后来者在寻找来时路的时候，会在雪下找到这些文字。他们会知道，在那段最漫长的寒冬里，并不是所有人都睡着了。

有人醒着。有人依旧在记录。有人把四百年的积雪，一缕一片地细细数来。而你，我亲爱的朋友，在那漫天的雪下，又可曾看到了什么？

Four Hundred Years of Heavy Snow

Author: Zhou MinEditor: Feng Reng Proofreader: Feng Reng Translator: Peng Xiaomei

Part I: The Wave of the Guiyou Manuscript of Dream of the Red Chamber Is an Undercurrent in the Hearts of the “New Eight Banners” Era

On March 19, 2026, the Douyin account of an internet influencer “Chi Gua Meng Zhu,” who had 5 million followers, was banned. She rose to fame in a short time by interpreting the Guiyou manuscript of Dream of the Red Chamber from a cryptological (esoteric) perspective, and her livestreams were crowded with viewers. After being banned across the entire internet, all of her accounts, including those that reposted her content and some accounts promoting Han culture, were also banned. She herself appeared in a video confession, where her expression was stiff and she read from a script mechanically. The title she read was: “From Great Unification to Strengthening the Consciousness of the Chinese National Community.”

The charge for her ban was that she interpreted the Guiyou manuscript of Dream of the Red Chamber from the perspective of “overthrowing the Qing and restoring the Ming.”

If her ban is understood merely as an issue concerning the legitimacy of Qing dynasty territorial inheritance in Xinjiang, Tibet, and Manchuria, then the true weight behind it will be missed. In China, countless online accounts are banned every day for touching the nerves of the CCP. But this time, the full set of political handling procedures was mobilized: targeted public opinion suppression, official media commentary, the person involved reading a public statement, and then complete erasure across the internet without leaving any trace. This set of procedures is usually reserved only for cases that touch the true core nerves.

How could a controversial new version of a classical novel that suddenly appeared in recent years touch such a sensitive core nerve? To answer this question, one must first understand: those five million people gathered in a livestream interpreting literature—what exactly were they searching for?

Dream of the Red Chamber has never been merely a love story of declining aristocrats. The opening of the book makes it clear: the book “conceals real events with fictional words.” The prosperity described on the surface is only a backdrop; the hidden theme is destruction and decay. As suggested by another title of the book, The Precious Mirror of Love: one must look at the reverse side, not the front—otherwise one will be deceived by the author.

The core claim of the cryptological school is that this is a historical record of a fallen nation written in coded language. Characters such as Daiyu symbolize the Chongzhen Emperor and the Southern Ming; Baoyu represents the imperial jade seal and Han legitimacy; the Grand View Garden symbolizes the declining Chinese civilization. The carefully designed homophones, pictographs, poetic allusions, and hidden narrative threads are the efforts of people from a fallen nation who, under the threat of literary persecution, embedded the truth into an unrelated story. The depth and complexity of this system far exceed the imagination of ordinary readers. It encodes meaning into the structure and pronunciation of Chinese characters, as well as literature, the I Ching, astronomy, traditional medicine, the five elements, and the cosmological worldview—using the entire Chinese knowledge system as a codebook. This could only have been written through years of painstaking effort. When you realize that the code is embedded in the characters themselves, you understand the depth of the authors’ despair and unwillingness to accept defeat. Astonishingly, these signals have penetrated centuries of suppression and are still being received by some people today.

The title The Precious Mirror of Love itself contains hidden meaning: in traditional script, the character “wind” contains an insect, symbolizing the Later Jin (Manchus); “moon” is part of the character for Ming, symbolizing the Ming dynasty. The word “mirror” means to learn from history, to understand rise and fall, and to comprehend the final glory and humiliation of Chinese civilization. The title itself is a blade hidden in the structure of characters. The fatal line of poetry—“The Qing breeze does not know characters; why does it randomly flip through books?”—is not only mocking the Manchus’ illiteracy but also refers to the “insect” hidden within the character “wind.” In times of political oppression, whether the old Eight Banners or the new ones, even characters themselves become weapons.

One layer of the metaphor system is constructed according to the Five Elements. In this system, metal corresponds to white, lungs, autumn, withering vegetation, frost, and cold severity. These elements in the book all point to the Later Jin (Manchus). This is no longer subtle metaphor but explicit reference. Ginseng is another metaphor running throughout the book. “Ginseng” sounds like “human body,” symbolizing the Ming army and resistance forces. Early in the story, Grandmother Jia says, “We have plenty of ginseng”—this represents the time when the Ming still had vitality. Later, only old remnants remain, having lost their effect—this represents the final stage of the Southern Ming, beyond salvation. This thread runs from beginning to end, each appearance of ginseng marking a struggle of civilization, until its collapse.

This metaphorical system was widely understood among the highly educated remnants of the Ming. When Zhiyanzhai annotated the book, he wrote: “Only those who can decipher it will shed tears of sorrow.” He was not referring to appreciation, but to “deciphering”—the act of cracking a code. He was telling future readers that the book contains a lock that must be opened. The author and commentator were essentially making it clear: read this as history, and understand the truth that your civilization has become bones buried under a blizzard.

But for modern people, most of the receivers of this code have been lost—not because modern Chinese are less intelligent, but because the cultural soil that nurtured such understanding has been systematically destroyed for nearly four hundred years. Cultural literacy has fallen to its lowest level in four centuries. The Qing dynasty’s literary inquisition destroyed those who dared to speak; the CCP’s education system destroyed those who could understand. Two different blows, same result.

This is not merely the loss of a novel; it is the amnesia of an entire civilization. The widespread confusion and disorientation across this vast land are precisely what both the Qing Eight Banners and the “new Eight Banners” have sought.

Part II: “The Song of Burying Flowers” Is Still the Elegy of Modern Chinese, Not of the Past

A self-media account with millions of followers capable of deep thinking is no longer just an online chatroom—it has become a grassroots spiritual community. When thousands reach an unspoken political consensus through the Guiyou manuscript in the comment section, the account begins to take on quasi-organizational characteristics. The CCP has PTSD toward anything that shows signs of organization. It deletes accounts and silences voices to forcibly dismantle this spiritual stronghold, returning individuals to isolation and pessimism.

Every Chinese person, whether or not they have read the novel, knows of Daiyu burying flowers. One cannot help but marvel at the vitality of this metaphor. For centuries, it has been reduced to sentimental love and lament for life’s impermanence. In reality, it was people of a fallen nation burying their own civilization. Refusing to let fallen petals enter water—since metal produces water, symbolizing the Later Jin—is the last dignity. Burial in earth symbolizes refusal to be absorbed into the conqueror’s system. The line “pure in origin, returning pure, better than sinking into filth” is not a girl’s sentiment, but a desperate declaration of a civilization refusing assimilation.

Part III: The “New Eight Banners” — A Structure That Must Be Clearly Explained

To understand this round of bans, one must first understand a term: the “New Eight Banners.”

The Eight Banner system of the Qing dynasty was a privilege system based on bloodline and military merit. Banner people did not engage in production and were supported by the state, enjoying systemic privileges over the Han population in law, economy, and politics. The design logic of this system was to permanently establish an immovable identity barrier between conquerors and the conquered.

In today’s China, this wall has taken on a different face—German ideology plus a Soviet-style system—but its structure is strikingly similar.

The Soviet-style elite, princelings, second-generation reds, military families, and high-ranking officials’ families—this group enjoys systemic advantages in political access, capital accumulation, judicial immunity, and educational resources. These advantages are structurally identical to those of the Banner system. Xi Jinping once referred to his own group internally as the “natural heirs of the red regime”—this logic is almost identical to the Qing Banner people invoking “ancestral military merit.”

The deeper similarity lies in their fundamental attitude toward the governed.

The Book of Lord Shang states: “A strong state, weak people. Therefore, a state with order must weaken the people.” (Shang Yang himself, who pioneered such harsh laws to tame the people like livestock, ultimately died under the legal system he created.) The Qing dynasty engraved this logic into people’s bodies through the queue order and literary inquisition. The modern regime goes even further: suppressing Daoism, Confucianism, religion, and local ancestral culture; promoting Legalist harsh laws; eliminating dissent through physical repression; draining personal time through economic pressure; diluting attention through algorithm-driven fragmented entertainment; and enforcing constant surveillance.

The methods have become more sophisticated and precise, but the goal remains unchanged: to turn intelligence into servility, to turn subjects into property.

When Lord Macartney visited China in 1793, he witnessed the results of this system. He wrote that over the previous 150 years, the Qing Empire had “not improved, not progressed, but rather regressed.” He compared it to a dilapidated first-rate warship that had not sunk “only due to luck.” These words, written over two hundred years ago, read today as if they were written for the present.

In 1776, Adam Smith described China’s wealth in The Wealth of Nations. What amazed Europeans—the material prosperity of Eastern civilization—was the legacy accumulated during the Ming and earlier periods. Smith saw the inheritance, but he did not realize that the civilization that created it had already changed hands. The China in Smith’s mind was pre-1644 China.

From 1644 until today, the true owners of this land have not been the Chinese people who lived, worked, and died on it for thousands of years.

When placing the Qing dynasty and the CCP side by side, some object: the Qing dynasty, no matter how flawed, is part of Chinese history; the CCP is a regime established by Chinese people—how can it be considered “foreign”?

This objection confuses two things: the local origin of people and the alien nature of governing logic.

The Manchus came from the northeast, Marxism-Leninism came from the Soviet Union—seemingly different. But their nature is the same: neither is a governing logic naturally produced by this land. What they did in China shares a common core action: systematically destroying the natural growth capacity of Chinese civilization.

In the late Ming dynasty, China was undergoing internal transformation. The rise of a commercial economy in Jiangnan, the heterodox philosophy of Li Zhi, the dialogue between Xu Guangqi and Matteo Ricci, Song Yingxing’s Tiangong Kaiwu—these were signs of Chinese civilization touching the edge of modernity from within. A seed had just begun to sprout.

Then the Qing conquest uprooted it completely.

What followed were the queue order, literary inquisition, and the systematic destruction and alteration of books under the guise of compiling the Siku Quanshu. The goal was to erase the memory of native civilization—to force a people to internalize conquest through bodily humiliation and then tell them, through rewritten history, that this had always been the case.

A century and a half later, Macartney recorded the results. Fifty years later came the Opium War. The giant but decaying warship finally sank.

Then came the Republic of China—the only brief thaw in four hundred years of snow. Lu Xun’s sharp critique, Hu Shi’s moderation, Chen Yinke’s integrity, and the intellectual vitality of Southwest Associated University. It was a fleeting but brilliant moment, the closest this land had come to freedom in four centuries.

Then, in 1949, the second snowfall arrived.

The campaigns against Confucius, temple destruction, and the Cultural Revolution were not merely political movements, but total destruction of the cultural confidence rebuilt during the Republic. Yue Fei disappeared from textbooks, Lu Xun disappeared, pre-Qin philosophers disappeared, the Republic disappeared. What remained was a blank expanse of snow.

This line of interpretation reveals a truth: in Chinese history, civilizational prosperity and centralized power have always been inversely related. Every “golden age” is a wasteland in another sense. Every era of loosened authority is when thought and creativity flourish.

The literary inquisition compared to modern control systems is like primitive tools versus precision machines. The former punished after expression; the latter prevents expression before it occurs. The essence of control has not changed.

Part IV: Offshore Fire — Taiwan as a Civilizational Backup

What seemed like a military retreat was in essence the first successful offshore backup of Chinese civilization after the Qing covered the mainland. Zheng Chenggong carried not only troops but also Han clothing, Ming calendars, and cultural symbols being destroyed on the mainland.

In 1949, history repeated with remarkable precision. Another group crossed the sea, bringing cultural relics, scholars, and intellectual traditions. Taiwan quietly accomplished something the mainland was never allowed to do: to prove that Chinese people can build a free and dignified modern society without authoritarian rule.

This is the true core of the Taiwan issue—not territory, but reference. As long as Taiwan exists, the claim that “without CCP rule China would collapse” cannot stand.

Thus, it must be isolated and cut off.

Part V: The Direction of the Undercurrent — From Emotion to Awakening

We must honestly face a question: what is the political significance of this undercurrent?

At present, the Guiyou manuscript phenomenon is closer to an emotional outlet than true awakening. Emotion dissipates; awakening reproduces itself.

The CCP understands this distinction and intervenes early to cut off the transformation.

But suppression has a side effect: every ban signals that something exists which power does not want people to see. Suppression becomes advertisement.

The undercurrent is invisible but accumulates beneath the surface. As long as structural contradictions deepen, it will not disappear.

Epilogue: Recording Itself Is Resistance

Dream of the Red Chamber was written under extreme political repression. The authors encoded truth into fiction, knowing it might never be understood. Those who copied it by hand also knew it might never be read, yet they persisted. This is cultural transmission: continuing despite knowing the difficulty.

Today, those who hold blank papers, who use coded language, who cross firewalls—they are doing the same.

Recording itself is resistance—not because it changes things immediately, but because it refuses forgetting.

In this era, intelligence is treated as a crime. The goal is to dull it.

A people capable of understanding the Guiyou manuscript is unconquerable—therefore they must be prevented from reading or even discussing it.

If even the digital “Grand View Garden” is destroyed, will civilization stagnate again, or will a new form of transmission emerge?

The snow has lasted four hundred years.

One day it will stop.

When future generations search for their path,they will find these words beneath the snow.

They will know that during the longest winter,not everyone was asleep.

Some were awake.Some were still recording.Some counted every layer of snow over four hundred years.

And you, my friend—beneath this vast snowfall,what have you seen?