Still writing at the beginning, but it's more like a preface. XD
I didn't expect my thoughts on "Recreating Heaven" to amount to nearly six thousand words. If I put in a little more effort, could I write a small thesis? (Not really)
The version I read: https://digital.library.mcgill.ca/mingqing/search/details-poem.php?poemID=56218&language=ch.
It's still not particularly bomb-proof, after all, if one doesn't have a certain understanding of related works, it's basically very hard to comprehend what I'm writing about. (Ouch)
I've finished reading "Recreating Heaven"!! My grand plan to study related works of "Rebirth Fate" has finally progressed a little bit~~
Unfortunately, I still haven't found "The Golden Chamber Hero," otherwise it would be necessary to see how Hou Zhi rewrote "Rebirth Fate," especially since "Recreating Heaven" actually continues from "The Golden Chamber Hero." I must thank Professor Hu Xiaozhen for her detailed research, which is easily accessible for reference; for me, she is a guiding figure.
Strictly speaking, "Recreating Heaven" should not be read without going through "The Golden Chamber Hero," otherwise it would be like directly labeling a theatrical adaptation as "The Sequel of Meng Lijun" or annotating it as "a sequel" to "Rebirth Fate," which is actually inappropriate and can easily lead to misunderstandings that this fan creation is excessively OOC. XD Because "Recreating Heaven"—or rather, starting from "The Golden Chamber Hero," Hou Zhi began to "recreate" it. Compared to being seen as a derivative work of "Rebirth Fate," it is essentially closer to an independent work, and this understanding may be more in line with Hou Zhi's original intention. After all, Hou Zhi's writing is not for "paying homage," but rather to "set things right." XD So, this is indeed not merely a fan adaptation, but more akin to Qiu Xinru's "Pen Blossoms," which is the concept of "starting anew." Reading "The Golden Chamber Hero" and "Recreating Heaven" in this way can prevent being entangled by "Rebirth Fate"—the approach taken by Hou Zhi is "to start over," intending to replace the original text of "Rebirth Fate" with a new text. Although the names of the characters are applied according to "Rebirth Fate" without change, it is not much different from "Pen Blossoms," which breaks away from "Rebirth Fate" to set a new story. It is better to temporarily set aside existing perceptions of "Rebirth Fate" and see what kind of story Hou Zhi is telling, which may avoid preconceived connections that are unfair to both works.
This is also my personal wish regarding "Rebirth Fate." Precisely because Hou Zhi uses the same name to cover her "harsh moves," it is even more necessary to clearly distinguish the independence of Hou Zhi's works. Hou Zhi's adaptation is different from Liang Desheng's continuation; "Recreating Heaven" is certainly not "The Sequel of Meng Lijun," nor is it a continuation of "Rebirth Fate," but rather "The Golden Chamber Hero," and "The Golden Chamber Hero" has always been a work different from "Rebirth Fate."
But I am not denying Hou Zhi and her works at all. Not at all.
Just like I want to support Liang Desheng's continuation, from Liang Desheng to Hou Zhi and Qiu Xinru, their interpretations and critiques of "Rebirth Fate" deserve serious consideration.
If Chen Duansheng's "Rebirth Fate" is praised as a "timeless work," and then Liang Desheng and others' "corrections" to "Rebirth Fate" are dismissed as "limitations," I believe that is anachronistic. Moreover, what I want to emphasize is—Chen Duansheng's Meng Lijun in contemporary times is still subject to public criticism. In today's era, is there really more tolerance for such behavior that disregards elders, is unrecognizing of kin, and acts recklessly? That Meng Lijun does not compromise for others; she "is" selfish. But isn't it precisely because she loves herself alone and lives only for herself that she is so lovable? Even today, how many people can live like her? Chen Duansheng's Meng Lijun is precisely a reflection of what people want to be but dare not or cannot be, which is deeply attractive.
The ladies who wrote responses are truly insightful and perceptive. Their analyses of Meng Lijun's "character" in "Rebirth Fate" are very accurate, and they all read the alluring pull that comes from danger, hence the unease and even anxiety, leading them to feel the need to "improve" it. I believe this is a form of self-emotional relief. Before debating with the original author or other readers, these ladies are first confronting themselves and embracing their own feelings. Thus, their words are often contradictory, seeming to criticize yet showing sympathy, pulling and tugging back and forth. Hou Zhi's particularly intense reactions are perhaps a manifestation of the intensity of her inner turmoil and conflict, right? Hou Zhi's eagerness to scold may not be an unconscious urgency—fearing that she herself is subtly moved and must suppress it. Once one deviates from the norm, it becomes difficult to stand in the world; Liang Desheng chooses a gentle and kind way to pull Meng Lijun back onto the "stable" path, while Hou Zhi adopts a "painful reform" approach to "preserve," both through "self-renewal," exchanging "good" for a means of survival.
Thus, Hou Zhi created Huangfu Feilong, allowing her newly shaped Meng Lijun to bury her.
I find it very symbolic that Hou Zhi arranged Huangfu Feilong as Meng Lijun's daughter. The umbilical connection between mother and daughter, an intimate extension of oneself, yet indeed independent of each other, creates a friction akin to lips and teeth relying on each other; this love-hate relationship is precisely the connection between Meng Lijun and Huangfu Feilong in Hou Zhi's writing—also the relationship between Hou Zhi herself and her characters.
Hou Zhi intends to "correct" "Rebirth Fate," and from "The Golden Chamber Hero" onward, she alters the characters. On one hand, she weakens Meng Lijun, while on the other, she wants Huangfu Feilong to embody "the mother's style," in order to highlight the existing moral flaws in the original Meng Lijun's character, yet it results in repeatedly depicting Huangfu Feilong surpassing Meng Lijun. Rather, it can be said that Hou Zhi, unconsciously, projected her emotions onto the Huangfu Feilong she created, reflecting the rebellious self that is submerged deep within the original Meng Lijun.
And such a being, born from her own self and nurtured by her own hands, she must eliminate. In this, Hou Zhi ironically unites with the Meng Lijun that was originally created to be derogatory—acting as a mother, yet having to eliminate her own biological daughter whom she has indulged for the sake of "greater righteousness."
Hou Zhi allows Meng Lijun to harshly criticize Huangfu Feilong, and it is indeed quite harsh, even using terms like "to catch a rat" to plot against Huangfu Feilong. Rather than targeting "the disobedient daughter," it is more about the fear of "the unkind self"—Hou Zhi arranging for Meng Lijun to defeat Huangfu Feilong actually carries the meaning of "Zhou Chu eliminating his own harm." Through the design of the mother-daughter relationship, the "evil" hidden within the mother is transferred to the derived child, allowing "evil" to be stripped from the original self and become the other. Thus, Meng Lijun can "cleanse" and "reborn" in "repentant tears," preserving her "harmlessness," while also protecting the true self behind the projection—Hou Zhi herself. All that condemnation can be said to wrap around Hou Zhi's intention to awaken her own chaotic heart.
However, Huangfu Feilong, although created by Hou Zhi due to her awareness of Meng Lijun's dangerous potential in "Rebirth Fate," actually resembles another character—Huangfu Changhua created by Chen Duansheng.
In my view, Meng Lijun in "Rebirth Fate" is "only selfish"; she just wants to live happily and freely, completely indifferent to the people, events, and things around her, and she won't attack proactively. Therefore, Liang Desheng's judgment of her excessive behavior through the characters in the continuation still says: she cannot be blamed; Huangfu Changhua, on the other hand, can be said to be the exact opposite, as the main force pulling Meng Lijun back into the "should love others" order of propriety, originally stemming from a "self-righteous" mindset, going to war in the name of defense, but underneath it all, it harbors personal interests and desires, which are not more noble and may even be more dangerous—"Recreating Heaven" inadvertently confirms this point.
Hou Zhi fears the allure of "Rebirth Fate," intending to recreate the moral universe, and this mindset aligns perfectly with Huangfu Changhua's confident righteousness and determination to eliminate evil in "Rebirth Fate." The story she writes may cause harm that is likely greater than the negative impact "Rebirth Fate" would produce.
She writes Huangfu Feilong rising to power against propriety, intending to criticize Meng Lijun's excessive arrogance and the consequences of a breached dam, but Meng Lijun, who only cares about her own little world, is unlikely to cross the line. Instead, it mixes in Huangfu Changhua's attempt to influence others' "self-satisfaction," which leads Huangfu Feilong to truly take an extreme path; subsequently, in order to "correct" Huangfu Feilong, Hou Zhi allows other Huangfu family members to unite under the pretense of defending propriety to overthrow Huangfu Feilong. But what does this mean? It means anyone can use the name of self-restraint and restoration of propriety to carry out tyrannical aggression. After all, who decides what justice is?
In fact, Hou Zhi is not entirely unaware.
She has also made several preemptive rebuttals regarding these hidden concerns in her book, even contrasting the power of Huangfu Changhua with the governance of Huangfu Feilong: "One is to protect the emperor's fate, how can they be the same." But isn't this the same as not explaining? XD The problem lies in who has this "interpretive power"? Are there not many such instances in history? Is the ascension to power a coup or a legitimate transfer?
In order to "have reason and evidence" to solidify orthodoxy and legitimacy, Hou Zhi can only make her characters "sacred."
To prove that it is a loyal defense and not a palace coup, the "uprising" royal family members must refuse to accept titles; otherwise, "If the Han King were to be established as the emperor, the hearts of the people would not be so; they would surely say it was an opportunity to usurp, and it was never a loyal king's uprising"; the "righteous woman" who was redeemed and imprisoned for repayment also cannot elevate her status, otherwise her intentions can be questioned: "Yuniang's integrity is hard to match, her name does not need to be high now; if she is called to stand side by side, it would feel like she is using imprisonment as a name."
Her characters can only be "selfless," which is what she intends to uphold as "not overstepping" to be called "good."
Even if she gives Huangfu Feilong the qualities to become a king or a tyrant, and writes Huangfu Feilong as diligent in governance, Huangfu Feilong is still guilty and cannot escape, because Huangfu Feilong is only concerned with her own interests and is neither holy nor good.
Ironically, those "self-purifying" thoughts sound more like a false high-mindedness born out of fear of public opinion, proving that they are most concerned with self-preservation.
Hou Zhi comments on Chen Duansheng's "praising women too excessively," and some events repeat, but she herself is not much different. In order to reiterate the importance of propriety, she repeatedly writes a whole batch of "inhuman" characters with almost indistinguishable "utmost loyalty and filial piety" plots, causing the characters to lose their individual appearances, resembling flat masks, making it hard to see the truth.
What is particularly thought-provoking is that Hou Zhi is determined to "restore" Meng Lijun, and for this, she "must indulge" Huangfu Feilong.
Only in the contrast of Huangfu Feilong can it be seen: Chen Duansheng's Meng Lijun "is indeed not selfish enough." Hou Zhi's Huangfu Feilong, who "truly embodies selfishness" and "completely crosses the line," "saves" Meng Lijun, who "still has the measure of loving others" and "can avoid" being cast out from society.
Chen Duansheng's Meng Lijun is indeed cold, but still swayed by her mother's safety; while in Hou Zhi's writing, Huangfu Feilong, who is "born without human emotions," fundamentally "annihilates humanity," completely unbound by reason, leading to "absolute freedom."
Huangfu Feilong says: "The roots of hatred and resentment are now sown; to unload the burden is difficult; leaving a bad reputation or a good name is the same death; it is better to take advantage of the situation and show off," "Although the years are not yet thirty-eight, enjoying all the glory and wealth; Peng Zu and Gan Luo are both dead; longevity or short life is all determined by heaven." When she ignores "external" matters, she can act without restraint to obtain "pleasures that can be felt in this world." I think of Marquis Shad. A sincere question seems to come from the depths of the soul: "What good is goodness?"
An interesting phenomenon emerges here: Hou Zhi's depiction of events is actually quite abstract, yet she articulates Huangfu Feilong's emotional fluctuations quite delicately; what "evil" Huangfu Feilong has done may not be clear, but what "suffering" she feels is very clear. Originally intended to blame, Hou Zhi inadvertently leads readers to "empathize" with Huangfu Feilong.
Perhaps because she is too eager to reason, the narrative of "Recreating Heaven" is quite concise, closer to a summary, with fewer details; however, the insufficient situational construction and difficult-to-sift context make the foundation for moral judgments unstable, making it hard to fully convince readers. What exactly did Huangfu Feilong and other antagonistic characters do that is so intolerable that death is the only option? In those few words, I really can't see it clearly.
In contrast, Hou Zhi allows Huangfu Feilong to express many thoughts, such as Huangfu Feilong's ambitions, her growing coldness towards her family, her defenses against rebellion, and self-protection. When readers stand on the same ground and share the same perspective, those thoughts and actions become understandable and reasonable.
Huangfu Feilong indeed hides a thread of Hou Zhi's soul.
Don't you see that Hou Zhi writes Huangfu Feilong with a seal, much like Liang Desheng writes Meng Lijun in disguise, reluctant and compassionate, vast and vague?
The attitudes and evaluations of other characters written by Hou Zhi towards Huangfu Feilong are not entirely negative, especially the phrase "The right empress is truly magnificent," which is the most striking.
Does this mean Hou Zhi favors men over women? But what we can see is that in Hou Zhi's writing, there is an incompetent male emperor who is far inferior to his wife: "How can a ruler of the world be like a child, unable to move an inch in the palace," and this line is still spoken by Huangfu Changhua, who is set as his mother. If we are to hold accountable, Hou Zhi does not forget that the blame is not solely on women: "Is this all the evil of Feilong? Ultimately, it is the king who indulges in pleasure."
Another interesting passage: "The supreme one indulged in romance back then; the protector did not uphold chastity; how can the Yuan family speak of moral integrity? Those who wish to do good are not rewarded; those who do evil are not punished; Your Majesty had no selfish thoughts back then; how can female calamity obscure the sun? Fortunately, the lustful one is not the lecherous ruler; the empress in the palace upholds propriety." Not only does it aim at men, but it also credits women for "guarding" the bottom line. Although the essence is still a two-way moral admonition, it cannot be said that Hou Zhi is simply anti-female.
Although Hou Zhi's words reveal anxiety towards women—or rather femininity—can she be blamed for this? Regardless of her time and space, do those rejections and abandonments not exist at this moment? Hou Zhi—including Chen Duansheng, who seems to be the most progressive—lives in her own contemporary reality, facing her own real world.
In the writings of Liang Desheng and Hou Zhi, one can always glimpse the customs and rituals of that time, clearly realizing the differences of the era. However, Chen Duansheng's story does not generate this sense of distance between ancient and modern times, because Chen Duansheng primarily relies on romantic imagination, while Liang Desheng and Hou Zhi depend on experience for realistic insights.
Chen Duansheng's Meng Lijun is originally carefree and cold, because both the character and the author are young ladies, not yet living in the everyday, unaware of considerations, and can let their imaginations run wild, shouting "I can support myself"; however, even without the later ladies, the married Chen Duansheng could no longer write like that. When faced with the realities of life, one can no longer be fully immersed in that unrealistic, purely aesthetic dimension. They ultimately cannot neglect their own real lives, cannot escape the social framework they are in, and must strive to find a way to survive.
Thus, Hou Zhi cannot help but express "masculine spirit" to stand firm in the order of masculinity. As the saying goes, if you can't beat them, join them.
When she writes "Recreating Heaven," it reads like a historian documenting character biographies: focusing on "people," recording their experiences, discussing their merits and faults, which is a significant aspect of Hou Zhi's technique. "Recreating Heaven" is not simply written in chronological order; it resembles a unit structure or a collection of short stories, narrating experiences chapter by chapter according to characters, and the same events may be mentioned repeatedly across different chapters.
Hou Zhi seems unable to avoid "using literature to convey principles." She cannot—perhaps fundamentally does not agree—merely treat the ballads as harmless imagination, but rather sees them "seriously," caring about allegorical meanings. Her positive characters are all generous in righteousness, and her word choices are all grounded in classical references, but this also makes her writing a bit stiff.
Perhaps her original expertise leans towards poetry and prose, her sense of rhythm in ballads is low, closer to seven-character poetry and prose, sometimes overly pedantic, sometimes too blunt, and story segments may reappear, making it less fluid to read, but it still retains a sense of imagery and fits the characters, not becoming overly formulaic, allowing one to imagine how it would be performed.
Overall, however, reading "Recreating Heaven" is still quite a test for readers, possibly due to a relative lack of organization, with serious typos throughout the book; moreover, not only does she like to use references, but Hou Zhi also tends to refer to characters by their social status—likely a reflection of her emphasis on propriety—if one does not keep this relationship in mind, it becomes difficult to discern who is who, especially when characters have too high a degree of similarity and lack distinctiveness. Each interaction between characters involves a series of formal steps that must be followed, resembling a constantly repeating yet unavoidable tutorial for beginners. (Laughs)
However, why does the propriety-focused Hou Zhi favor the Liu family?
"The Golden Chamber Hero" adjusts the original setting of "Rebirth Fate," continuing into "Recreating Heaven," starting with Liu Yanyu, and the Liu family is clearly given special attention by Hou Zhi, producing multiple characters who are both ethereal and loyal, even making Liu Yanyu "overwhelm" Su Yingxue, with both names prominently featuring Liu. I truly do not understand this.
In Qiu Xinru's words, Liu Yanyu is basically promiscuous. "Marrying without a matchmaker cannot be called virtuous," how did Liu Yanyu catch Hou Zhi's eye? XD
Clearly, one could directly use the originally pure and lovely Su Yingxue; why flip the image of the Liu family and elevate Liu Yanyu? Is it because she does not appreciate Liang Desheng's continuation and thus dislikes Su Yingxue, whom Liang Desheng cherishes? Could it be because Su Yingxue comes from a lower background? Or perhaps it is an intentional separation from the soul figures of Chen Duansheng and Liang Desheng; aside from that, I really cannot think of any reason for Hou Zhi to value Liu Yanyu and her family.
In any case, Hou Zhi shapes the women of the Liu family as representatives of goodness, and another noteworthy point is that Hou Zhi also arranges for Liu Yanyu and her niece to possess divinatory abilities. This means that "knowing one's destiny" is a manifestation of goodness for Hou Zhi.
Although "Rebirth Fate" also begins with a fantastical structure, it becomes increasingly "realistic"; "Recreating Heaven" seems to come from rational criticism, yet it can be said to be shrouded in "fate" throughout. Reading it gives a strange feeling, as if the characters are merely "waiting" for things to "inevitably" happen, seeing the fire but not extinguishing it, needing to let the fire burn before waiting for the firefighters to come to the rescue? Consequently, the story becomes flat and simple, with loose logic, where good and bad characters have no reason; when the "time" comes, things just happen as they should.
I wonder if this reflects a kind of "learned helplessness" psychology that Hou Zhi perceives in her contemporary world? Knowing that disasters are inevitable, one can only reduce losses and cannot prevent them. Characters can only be controlled by the author, and the plot depends on the author's arrangement, subtly implying that it is difficult for people not to follow fate. Her earnest pursuit of "moral return," just like her characters' belief in the "supreme emperor," is merely an inner longing for stability, hoping to avoid harm through "returning to order." "Recreating Heaven" can also be interpreted as a representation of our world. The characters within are concerned about reputation, fearing abundance, being cautious and restrained, all because the outside world gives "unruly" people "lessons," right? Seeking retreat and cultivating immortality seems to lean towards the mystical, but rather, it is the only path to "find joy in oneself" and still possibly be called "virtuous." "One should not act excessively for oneself; excessive actions lead to retribution," "Retribution never spares; one must remember to be temperate in life." Hou Zhi is merely learning to "socialize"—society does not allow for isolation.
The heretical Huangfu Feilong can only have a solitary grave on the margins; until she sheds her old self and changes her appearance, her soul can ascend in the dark night.
This is the situation Hou Zhi hopes to achieve through recreation—renewing her heart and mind, becoming a Buddha on the spot.
Look at her Huangfu family, purified, forever royal, wielding power over the court and the countryside, no longer worried.
A scene of harmony.