The Twelve Beauties of Jinling – Li Wan

　　 Peach and plum blossoms bear fruit in the spring breeze, but in the end, who can compare to a pot of orchids?

　　 Like ice and water, they are good for vain envy, only to become the subject of others' laughter.

　　　　　　　　　　　　　　 —Judgment.

　　Li Wan is a fictional character in *Dream of the Red Chamber*, also known as the Palace Dresser, the Old Farmer of Rice Fragrance, and one of the Twelve Beauties of Jinling. She is the wife of Jia Zhu, the eldest grandson of the Rongguo Mansion. Jia Zhu died young, leaving behind a son named Jia Lan. Li Wan was widowed young, her heart like "withered wood and dead ashes," but after entering the Grand View Garden, she regained her youthful vigor, not only leading the poetry club to prosperity but also transforming the Grand View Garden into a pure land and paradise for young women.

She is chaste, serene, elegant, and dignified, yet detached from worldly affairs. She is like a still, ancient well in a deep alley, a melodious evening bell in the twilight. That ancient well, that evening bell, are calm, composed, yet also weathered by time.

　　It turns out that this Li Wan is Jia Zhu's wife. Although Zhu died young, she survived with a son named Jia Lan, who is now five years old and already attending school. This Li woman is also the daughter of a prominent official in Jinling; her father, Li Shouzhong, was once the Chancellor of the Imperial Academy, and every man and woman in her clan was well-versed in literature. Since Li Shouzhong inherited the family, he believed that "a woman's virtue lies in her lack of talent," so she didn't study very seriously. She merely read some of the *Four Books for Women* and *Biographies of Exemplary Women*, recognizing a few characters and remembering a few virtuous women from the previous dynasty. She prioritized spinning and needlework, hence the name Li Wan, with the courtesy name Gongcai. Therefore, although Li Wan was widowed young and lived amidst luxury, she was like a withered tree, indifferent to everything, only knowing how to serve her parents and raise her son, and accompanying her younger sisters-in-law in needlework and reading.

　　 Beautiful waters and clear mountains embrace and return, her elegant literary talent surpasses even Penglai.

　　 Green-cut fans adorn fragrant grasses, red skirts dance amidst falling plum blossoms.

　　 Pearls and jade should naturally be passed down through prosperous times; how fortunate are the immortals to descend from their celestial terraces!

　　 This renowned garden

　　, once open to all, has not permitted mortals to roam here. After Jia Zhu's death, Li Wan devoted all her energy to the upbringing of Jia Lan, which is understandable. Her cultivation of Jia Lan was comprehensive; she not only urged him to study the classics and prepare for the imperial examinations, but also arranged for him to practice martial arts. There is a description in the book that readers should not overlook: in Chapter Twenty-Six, Baoyu was strolling in the Grand View Garden, watching goldfish along the Qin Fang Stream. Suddenly, two deer darted like arrows from the hillside, breaking the poetic scene. Why were the adorable deer so startled? Baoyu was puzzled, wondering why, when he saw Jia Lan chasing after him with a small bow. Upon seeing Baoyu, Jia Lan stopped and greeted him. Baoyu scolded him for being naughty, asking why he shot at the deer. Do you remember Jia Lan's answer? They said, "What else can we do if we're not studying?" So they practiced riding and archery. Li Wan was eager for her son to succeed, so she provided Jia Lan with comprehensive training, wanting him to be both literate and skilled in martial arts.

　　 The affection reflected in the mirror is nothing compared to the fleeting fame and fortune in dreams!

　　 How swiftly youth fades!

　　 Let's not mention embroidered curtains and mandarin duck quilts anymore.

　　 Even wearing a pearl crown and a phoenix robe cannot withstand the impermanence of life.

　　 Although it is said that one should not suffer poverty in old age,

　　 one must still accumulate good deeds for one's children and grandchildren.

　　 Proud and spirited, wearing hairpins and tassels; radiant and dazzling, with a golden seal on one's chest;

　　 majestic and awe-inspiring, with high rank and wealth; gloomy and desolate, the road to the Yellow Springs is near!

　　 Ask, of all the generals and ministers of the past, are they still alive?

　　 They are merely

　　empty names for posterity to admire. The lines about "reflecting in the mirror"—the husband died early, and the affection between husband and wife is now just an empty name; who would have thought that the son's fame and one's own glory would be as illusory as a dream.

　　"Youthful years" here refers to the prime of life, different from the meaning of wealth and honor in the song title. "

　　 Embroidered curtains and mandarin duck quilts"—refers to married life.

　　The three lines about "pearl crowns"—say that when Li Wan could enjoy wealth and honor, her death would be near, a loss that outweighed the gain. "Even if" means "even though." Pearl crowns and phoenix robes were the attire of noblewomen who received imperial honors; here it refers to Li Wan receiving an official title because Jia Lan later became an official.

　　"Hidden virtue"—the "hidden merit" mentioned in the previous section—refers to secretly doing good for others and accumulating virtue for one's children and grandchildren. "

　　Hairpins and tassels"—the headdresses of noblewomen in ancient times. Hairpins are jewelry, and tassels are hatbands. "

　　Golden seal"—also worn by noblewomen. The *Jin Shu* (Book of Jin), in its section on empresses, states: "Only empresses and noblewomen wore golden seals and purple ribbons."

　　The two lines about "asking about the past"—say that Li Wan didn't necessarily need to hope her son would become a dragon among men.

　　After entering the Grand View Garden, Li Wan's spirit was completely renewed. On February 22nd, the young ladies moved into the garden. Before spring was even over, only about a month later, she thought of starting a poetry club.

　　Li Wan's poetry club was definitely not just for entertainment. It's important to understand that any major social change begins with culture. The Western Renaissance and China's May Fourth Movement are proof of this. This fully demonstrates that her heart was not "as still as a well," but rather surging with waves, yearning for change, and filled with a longing for a better and happier life.

　　However, she was cautious; she didn't put her idea into practice. It wasn't until nearly half a year later, in August, that Tan Chun finally came to her senses, picked up Li Wan's concept, sent out invitations, and gathered everyone to establish a poetry club. Li Wan didn't compete with Tan Chun for credit; upon hearing the news, she immediately went to Tan Chun's place, praising her as "very elegant." She then took a series of actions to support Tan Chun and the poetry club.

　　 First, she volunteered to be the leader.

　　 Second, she offered her own Daoxiang Village as the club's location.

　　 Third, she affirmed Lin Daiyu's suggestion as "extremely good," and everyone chose nicknames, with her being the first to choose the nickname "Old Farmer of Daoxiang."

Fourth, she came up with a universally applauded idea: inviting Wang Xifeng to be the club's supervisor to solve the funding problem.

　　Li Wan knew that without money, even the best ideas couldn't be realized; it was absolutely impossible. To force Wang Xifeng to submit, Li Wan launched a barrage of attacks, showering her with a series of derogatory nicknames: "rogue, peasant, and mercenary," "vulgar, glib-tongued, and foul-mouthed," "a dog's belly full of yellow soup," "a dog with a long, pointed tail," "a scoundrel and a down-on-his-luck wretch," and "the Hegemon of Chu." She seemed determined to condense a thousand words into one, to utterly destroy the woman, displaying an unstoppable, lion-like frenzy that revealed the unique brilliance of her character.

　　Li Wan's method of demanding money was both proactive and innovative. Surprisingly, Wang Xifeng conceded defeat. To refuse would be tantamount to rebellion against the Grand View Garden! Wang Xifeng understood perfectly well that the hearts of the other women in the Grand View Garden were aligned with Li Wan's. Therefore, she couldn't confront Li Wan, nor was there any need to. Li Wan had already relinquished power in the power struggle; she was merely indulging in harsh words and verbal sparring. These two sisters-in-law, though having only conflicts, never antagonistic ones, coexisted peacefully throughout their lives.

　　The latent energy of Li Wan's social activities is astonishing. After entering the Grand View Garden and establishing the poetry club, Li Wan completely transformed. We frequently see her smile and hear her laughter. She not only writes poetry but also critiques it, becoming exceptionally active. Together with her sisters, she used the poetry club to challenge the rigid social norms that stifled their lives and minds.

　　Li Wan possessed extensive and profound poetic knowledge. Jia Baoyu praised her poetry critiques highly, saying she was "sharp-eyed and most fair." Through the poetry club, Cao Xueqin portrays Li Wan's talent and emotions, showing us that her seemingly indifferent and unambitious behavior was a necessary sacrifice under the oppression of societal norms. Li Wan was not indifferent to the world or devoid of spirit. The more Cao Xueqin depicts the brilliance of Li Wan's character, the deeper her inner sorrow becomes. In the mud-walled courtyard of Daoxiang Village, "hundreds of apricot trees bloomed like fire and rosy clouds," truly a scene where "spring's beauty could not be contained within the garden walls." Li Wan was like that uncontainable apricot blossom.

　　Li Wan in the Grand View Garden was radiant with youthful vitality. Li Wan's status as a widow prevented her from pursuing her outward appearance. Although she could not wear bright clothes or heavy makeup, it could not stop her from appreciating and pursuing natural beauty.

　　Hundreds of apricot blossoms in Daoxiang Village bloomed like fiery clouds, their vibrant color and shape reflecting Li Wan's inner emotions. Her keen appreciation for natural beauty was truly admirable. The first poetry gathering of the Grand View Garden Poetry Club was initiated by Li Wan, with the theme of white crabapple blossoms. These white crabapple blossoms were sent to Jia Baoyu by Jia Yun, and Li Wan only happened to encounter them on her way. Although she didn't compose a poem, she was sensitive and appreciative of the flower's beauty; however, the flower's owner only returned to Yihong Courtyard after composing a poem and "busied himself looking at it" (Chapter 37). The idea of composing poetry by the stove in Luxue Pavilion was also suggested by Li Wan. In this world of pink and white, every scene became a rare adornment to the icy landscape. When Baoyu failed the imperial examination, Li Wan punished him by making him beg for red plum blossoms from Miaoyu—a more elegant form of punishment compared to Wang Xifeng's. Li Wan was particularly fond of the red plum blossoms at the Green Bamboo Hermitage. She couldn't get enough of them and wanted to take them back to admire them more closely. Her high level of appreciation for beauty and her intense love of it were unmatched by others!

　　Her participation in the founding of the poetry club marked the first peak in her character development. They entered the Grand View Garden on February 12th, and Li Wan already had the idea of forming a club. In August, when Tan Chun suggested it, Li Wan immediately went, saying, "How elegant! If a poetry club is to be established, I will be the head!" She even recommended her own Daoxiang Village as the club's location. Li Wan's enthusiasm reached its peak immediately, and she threw herself into various activities such as composing poems about white crabapple blossoms and impromptu poems at Luxue Pavilion with great passion. In the kingdom of poetry, Li Wan found her place and entered her role. She treated all the activities of the poetry club with the attitude and enthusiasm of a protagonist, ensuring the smooth operation of the Grand View Garden Poetry Club and providing a bulwark for the ideal life of the children of the Grand View Garden. With poetry, there was the need for poetry critique. Poetry critique is another brilliant stroke by Cao Xueqin in shaping Li Wan's youthful image. Here, Li Wan is not a typical widow, nor is she "withered and lifeless." Here, Li Wan's life radiates youthful vitality, bursting forth with passionate and rich emotions.

　　When she is with her sisters, free from the constraints of etiquette, Li Wan appears exceptionally lively and humorous. For example, in Chapter 63, on Baoyu's birthday, when the ladies of the Grand View Garden hold a night banquet, Li Wan laughs and says, "What's the problem? It's not like this every year except for birthdays and festivals, not every night, so there's nothing to fear." Compared to others, Li Wan is even more uninhibited. Not only that, she also plays very happily with the girls, even going so far as to force Tan Chun to drink with Xiangyun and others. At this moment, Li Wan has forgotten her special status and the rigid etiquette, and thus, a vibrant young woman is presented before us. When Tan Chun is teased by Daiyu, she begs Li Wan to help her out: "What is this? Sister-in-law, could you give her a good widow?" At this, Li Wan smiles and says, "I can't bear to see someone get beaten up instead of marrying a rich man." Her humor makes everyone laugh.

　　Outside the Grand View Garden, Li Wan's personality was bound by the rigid social norms, forcing her to live within their constraints. However, far removed from the worldly shackles, in the relatively pure ideal kingdom of the Grand View Garden, Li Wan gained unprecedented vitality, clashing with its dominant theme of "withered wood and dead ashes." The author uses this conflict to reveal the cruelty of feudal ethics in suppressing human nature. Therefore, although Li Wan's appearance is as withered as wood, her heart is not like dead ashes. Li Wan is also a tragic figure, full of flesh and blood and rich in emotion, suppressed by feudal ethics.

　　Some scholars of *Dream of the Red Chamber* either ridicule or criticize Li Wan. They believe that Li Wan's chastity in the Jia family makes her a victim of feudal ethics, that her life was wasted! It seems that after Jia Zhu's death, Li Wan must immediately remarry, or else she's considered foolish. In fact, this denies the diversity of human existence.

　　In *Dream of the Red Chamber*, Li Wan is introduced as a widow. Throughout the book, Li Wan lives a quiet and uneventful life, without any major ups and downs. This unassuming nature of Li Wan's also determines her unremarkable fate. Born into a prestigious family—her father being the Chancellor of the Imperial Academy—Li Wan had the opportunity to study due to the traditions of a scholarly family. However, her father did not deliberately cultivate her character; the highest expectation he had for her was "lack of talent is a virtue." From a young age, she was taught to be a virtuous woman conforming to traditional morality. While Cao Xueqin doesn't explicitly state the nature of her relationship with Jia Zhu during his lifetime, judging from Li Wan's occasional expressions of deep longing for him, they were likely a harmonious and loving couple.

　　As the eldest daughter-in-law who bore the Jia family heir, Li Wan should theoretically have been more qualified and should have actively participated in family affairs, but in reality, she was completely indifferent to the family's matters. When Feng Jie fell ill, Lady Wang entrusted the household management to Li Wan; Tan Chun was merely Li Wan's assistant. However, once the actual work began, everything fell to Tan Chun, while Li Wan retreated to the background. This wasn't Tan Chun usurping the role, but rather Li Wan's deliberate avoidance. Li Wan knew that within the entire family, Feng Jie's position was the eye of the storm, the focus of internal strife. Conflicts between masters, between servants, and between masters and servants all converged here; a mishap could easily lead to disaster. Even with Feng Jie's keen intellect and Jia Lian's constant advice and accusations, how much more so for a widow like herself!

　　Li Wan's reluctance to appear in public didn't damage her image; on the contrary, it enhanced her reputation. In the servants' eyes, she was kind-hearted and gentle, a living bodhisattva. To her sisters-in-law, she was a friendly older sister who could compose poetry, drink wine, and have fun with everyone; a kind and easygoing sister-in-law, lacking the reserved airs often associated with chaste widows. In Grandmother Jia's eyes, she "lived quietly with Lan'er," a good granddaughter-in-law. Besides praising her, Grandmother Jia also felt sorry for Li Wan, a "widow and unemployed woman," so she gave her the same "salary" as herself and the highest "year-end bonus." She also gave her a garden to collect rent. Therefore, if we disregard Li Wan's loneliness, her life was quite comfortable.

　　The kind of education one receives shapes the kind of person one becomes. Li Wan was raised with the "themes" of gentleness, kindness, respect, frugality, and humility, and her thinking remained confined to this framework. This also determined that she would not achieve anything in changing her fate. On Bao Yu's birthday night, Li Wan drew a lot that read "content with a bamboo fence and thatched cottage," which perfectly reflected her attitude towards life. What could she do if she was unwilling? Should she act like the eldest mistress, bossing people around like Feng Jie? If she did, the slightest mistake would be met with a torrent of gossip. Should she remarry with Lan'er? That might not end well either. If she married a good man, all would be well; but what if she married a bad one? Not only would she lose all her existing benefits, but she would also be plunged into misery for the rest of her life. Li Wan couldn't afford to gamble like that, nor did she dare to take that step. In Li Wan's view, maintaining a good image was more important than anything else. Therefore, she adopted a tolerant, easygoing, and detached attitude in her interactions with others. If Xi Chun could enter a Buddhist monastery, what was wrong with Li Wan teaching her son and living a peaceful life? The desires of youth would eventually pass, and she would simply ignore the romantic entanglements of young couples like Feng Jie and Jia Lian. Life is short, isn't it?

　　Li Wan and her son Jia Lan were in a very marginalized position in the Grand View Garden. The matriarch kept saying she was pitiful, but she only guaranteed her due dignity and interests, without showing any genuine affection. Her mother-in-law, Lady Wang, was a wooden statue, only showing a slight smile when she saw Bao Yu. As for the likes of Jia She and Jia Zheng, they wouldn't care about this daughter-in-law at all. Chapter Seven, "Jia Lian Teases Xi Feng While Sending Palace Lanterns," depicts the intimate moments of the young couple. At the same time, Li Wan is dozing on the kang (heated brick bed). This is just a small scene; how many more difficult nights did Li Wan endure?

　　Those closest to Li Wan were her sisters. They drank wine, composed poetry, and joked together. At the crab feast in Chapter Thirty-Nine, amidst the joyous atmosphere, Li Wan, touched by Ping'er's words, spoke of how Jia Zhu had several concubines when he was alive. Unfortunately, these women couldn't remain faithful, feeling uncomfortable in the house every day, so they had to be sent away while still young. "If even one could have stayed, I would have had a helper," she said, tears streaming down her face.

　　The people of the Jia family treated Li Wan with respect mixed with wariness, preferring to pretend to forget her status and treat her as an ordinary person. Li Wan should swallow all her bitterness, otherwise it would be inappropriate. Unless someone brings it up, such as when Bao Yu was beaten and Lady Wang was crying her heart out and suddenly remembered Jia Zhu, Li Wan could then cry her heart out.

　　Li Wan lived a shrewd life, neither taking advantage of others nor suffering losses. She was shrewd to the core, only concerned with personal gain, not with personal feelings. Unlike Feng Jie, she didn't try to dominate others; as long as her interests weren't harmed, she was happy to play the good guy. When Aunt Zhao's brother died, she immediately offered forty taels of silver, even though the proper amount was only twenty taels—a rule Tan Chun knew, and Li Wan was likely aware of it as well. Therefore, everyone called her a great bodhisattva, gaining both face and substance.

　　The description of Li Wan as withered and lifeless only indicates her willingness to remain a widow and faithful to her husband until death. In terms of life's pleasures, she was a lively member of the Grand View Garden, possessing a natural wit, such as her diligent management of the poetry club, which everyone admired. Especially her words of indignation on Ping'er's behalf: "Li Wan laughed: '...Yesterday you even hit Ping'er, how dare you! Did that wine go to waste? I was so angry I wanted to stand up for Ping'er. I hesitated for a long time, and finally, on this rare 'good day,' I was afraid the old lady wouldn't be pleased, so I didn't come. I was still angry. And today you've brought me here. You don't even want to pick up Ping'er's shoes! You two really should get a different aunt.'...Li Wan asked Ping'er with a smile: 'How about it? I said I had to make you proud.'"

　　You see, Li Wan's words were sharp and barbed. Feng Jie couldn't take it and had to apologize to Ping'er in public to save face.

　　 Li Wan valued virtue over talent; she secretly liked Baochai but didn't particularly like talented women like Daiyu, Miaoyu, and Feng Jie. For example, in Chapter 37, Li Wan commented on the begonia poem, saying, "In terms of subtlety and depth, it ultimately surpasses Heng's draft." In Chapter 50, she commented on Miaoyu, saying, "I find Miaoyu's character detestable; I ignore her." Remarkably, in the conflict between Baochai and Daiyu, Li Wan did not side with Baochai or the Jin faction, but remained neutral. For instance, in Chapter 51, when Baochai and Daiyu argued about Baoqin's poem about the past, she said no to Baochai; in Chapter 37, she praised Daiyu's begonia poem as "elegant and unique," and in Chapter 38, she ranked Daiyu's chrysanthemum poem as the best. Her ability to maintain such a clear distinction between public and private matters is truly remarkable.

　　In Chapter 98, after Daiyu's death and Baochai's marriage, it was Zijuan, Tanchun, and Li Wan who were by Daiyu's side. The original text states, "Li Wan and Zijuan cried their hearts out," and "Li Wan and Tanchun thought of how pitiful she had always been, and today she was even more heartbroken, so they also wept bitterly." Fengjie said, "It's you two who pity her more." This shows Li Wan's affection, loyalty, and fairness.

　　 Li Wan was filial to Grandmother Jia, earning her Grandmother Jia's praise and affection. In Chapter 43, when everyone was contributing to Fengjie's birthday celebration, Grandmother Jia took the initiative to cover Li Wan's share. In Chapter 45, Grandmother Jia instructed her to increase Li Wan's monthly allowance to be equal to her own. In Chapter 108, Grandmother Jia praised her for being more optimistic than Fengjie: "Sometimes she's like this, and sometimes she's like this...it's quite difficult for her." In Chapter 107, Grandmother Jia praised her: "Zhu'er's daughter-in-law has always been filial to me, and Lan'er is good too."

　　In Chapter 50, when Grandmother Jia was strolling in the garden, Li Wan rushed to greet her, but Grandmother Jia ordered someone to stop her; then, when Grandmother Jia wanted to eat pickled quail, Li Wan hurriedly asked for water to wash her hands and personally tore it apart, but Grandmother Jia again told her to just sit down. The two instances of Li Wan's "hurriedly" here both stem from her filial piety; she moved far below the young ladies to sit, which was precisely the etiquette she should observe as a granddaughter-in-law; Grandmother Jia's two instances of "ordering" also show her affection for her.

　　During the funeral of Grandmother Jia in Chapter 110, Li Wan took a moment to summon her servants and instructed them: "Don't look down on others and start mistreating Second Mistress Lian. Don't think that wearing mourning clothes and keeping vigil are all that matters; it's just a matter of getting through a few days. If you see those people struggling to make things happen, it's not a bad thing to lend a hand. This is also a public matter, and everyone should contribute." These words were considerate and magnanimous. Yao Xie commented: "Li Wan's words are extremely peaceful, appropriate, fair, and generous." Dongguan Pavilion commented: "She has never been unfilial in serving the Old Mistress; this is why she values fairness in handling matters."

　　The Rong Mansion's household affairs were managed by Second Mistress Feng Jie, but Li Wan, as the eldest mistress, "did not ask or hear anything, only knowing how to serve her parents and raise her children, and outside of that, she accompanied her younger sisters-in-law in needlework and reading," showing an attitude of not wanting to get involved and protecting herself. This was certainly due to her upbringing instilled in her the belief that "a woman's virtue lies in her lack of talent," but it was also related to the declining fortunes of the Jia family. Li Wan and You Shi, one in the Rong Mansion and the other in the Ning Mansion, were deeply disappointed by the hypocrisy of the Rong Mansion and the decadence of the Ning Mansion. Forced to distance themselves, they sought only self-preservation and had no interest in interfering in family affairs.

　　However, Li Wan was ultimately a statesman of the Grand View Garden. After taking charge, she became very enthusiastic about its affairs, displaying her political talents and earning the praise and respect of the garden's inhabitants.

The original text repeatedly mentions that Li Wan was appointed by Grandmother Jia and Lady Wang to manage the Grand View Garden. In Chapter 37, when the poetry club was established, Li Wan declared upon entering, "If we're going to start a poetry club, I'll volunteer to be its leader." In Chapter 42, Daiyu pointed at Li Wan and said, "This is to have you lead us in needlework and teach us manners." In Chapter 45, Fengjie said, "The young ladies were originally asked to have you lead them in their studies, learn etiquette, and needlework; you must teach them all." Chapter 49 provides a brief overview of the members of the Grand View Garden, stating, "Li Wan is the leader, and the rest..." In Chapter 55, when Fengjie fell ill, Lady Wang "temporarily entrusted all the household affairs to Li Wan to manage." In Chapter 65, Xing'er said, "Teaching the young ladies to read, write, and do needlework is her responsibility." In Chapter 97, Zijuan thought, "All matters in the garden have always been handled by Li Wan."

　　Under Li Wan's management, the political environment within the Grand View Garden was quite relaxed; the sisters breathed freely together, and it was unclear who held power or issued orders. This was quite close to the state of non-interference, which could be called "governance through affection." Under Li Wan's leadership, the Begonia Poetry Club flourished for a time, and Tan Chun's management of the household relied heavily on Li Wan, demonstrating her considerable administrative abilities. During the funeral of Grandmother Jia, when Feng Jie struggled to cope and Yuan Yang looked unwell, Li Wan secretly mediated and assisted. The text even mentions "those dressed in mourning clothes, like Li Wan," indicating that Li Wan's virtue and ability were highly respected.

　　 Li Wan's governance through her emotional appeal might be misunderstood as weakness and incompetence. For example, in Chapter 55, she is described as "valuing virtue over talent, which inevitably led to the servants being indulged," and the servants say that she "was usually kind, generous, and forgiving, naturally easier to deal with than Feng Jie." In Chapter 65, Xing'er compares her to Feng Jie: "This eldest mistress has been in charge for a few days, but she always follows the old ways, unlike Feng Jie who is so meddlesome and shows off her talents." This portrayal reflects the conflict between ideals and reality. Li Wan practiced her governance through emotional appeal within the Grand View Garden, transforming it into a tranquil haven for young women. However, the Grand View Garden was ultimately under the shadow of the Jia family's decline, facing a harsh external environment. At this juncture, it's not surprising that Li Wan's political maneuvering based on emotion was greatly diminished in the eyes of outsiders in real society. Here, Li Wan is criticized for "valuing virtue over talent," her virtue stemming from emotion and differing from traditional etiquette.

　　Some argue that the Grand View Garden was unequal, citing the access restrictions at Yi Hong Courtyard, where status dictated which gate one entered, and the hierarchy among head maids, junior maids, old women, and wives, hence Wang Meng's assessment of Qingwen: "I'd rather die than be a slave." This hierarchy certainly existed, but it wasn't solely a problem for Li Wan and the Grand View Garden. In the declining structure of the Jia family, the Grand View Garden was already under the dual rule of the Ning and Rong mansions. Li Wan's power in managing the Grand View Garden was limited; she could only conduct political practice within the existing framework of the Jia family's system.

　　Fengjie once calculated Li Wan's finances: "Your monthly allowance is ten taels of silver, twice as much as ours. The Old Madam and Madam say you're a widow and unemployed, pitiful, and it's not enough. You also have a son, so they added another ten taels of silver, making you equal to the Old Madam and Madam. They also gave you land in the garden, and everyone collects rent. At the end of the year, when the annual allowance is distributed, you get the highest share. You and your family, masters and servants, don't even have ten people in total, yet you still eat and dress like high-ranking officials. All in all, you have four or five hundred taels of silver." Therefore, some people falsely accused Li Wan of being selfish, stingy, and petty, and fabricated a secret history that Li Wan refused to help the Jia family during a future crisis.

　　Now, why did Tan Chun ask Fengjie to be the supervisor of the poetry club in this chapter? It turns out that on the day of the poetry club, Bao Yu didn't ask for leave and slipped away without reason. Tan Chun said, "I think you must be the supervisor of the poetry club, as you must be impartial and incorruptible." Tan Chun referred to the poetry club as "mine," which is quite intriguing. The people who came to visit Sister Feng's thatched cottage were not Li Wan, but Bao Yu and Tan Chun, who were the key figures behind the scenes who came to make the decisions and negotiate on the front lines. Sister Feng knew very well that "there is no one else but Bao Yu who caused all these things," so she couldn't blame Li Wan for this.

　　However, having just thrown a tantrum out of jealousy, Fengjie, to lighten the mood, joked, "They're not inviting me to be an imperial censor! They're clearly asking me to be a money-making copper merchant." This wasn't about money. Talking about money and joking was commonplace for Fengjie. She promised, "I'll arrive at the poetry club first thing tomorrow morning, dismount, and pay my respects. I'll leave you fifty taels of silver to host the club." This boastful talk, like the 50th chapter where she feigned a trick on Aunt Xue out of fifty taels, was all a joke: Tomorrow isn't the club's day, why should she arrive early? And why should she pay fifty taels, half a year's worth at once? With that fifty taels, she would have lent it out for interest long ago; what would she gain from giving it to the poetry club? Li Wan said, "If that's really the case, then so be it… wait until he doesn't send it, then we'll make trouble for him." She was referring to Xichun's painting.

　　Fengjie's mention of hosting was quite calculated. Who usually hosts poetry clubs? Baochai suggested that "twice a month would be enough," and Li Wan readily agreed, saying, "You must come to my place on the second and sixteenth of the month." Isn't that hosting? And hosting means paying money, right? Moreover, it's not just a rotating hosting arrangement as Fengjie suggested; Li Wan covers all the official poetry club days. You see, the one truly responsible for funding the poetry club is the president, Li Wan, not the supervising official, Fengjie. This perfectly illustrates Li Wan's generosity.

　　In Chapter 49, regarding the poetry gathering, from a poetic and refined perspective, Daoxiang Village isn't suitable for composing poems under the snow. Li Wan said, "Although my place is nice, it's not as good as Luxue Pavilion." The next chapter, the poetry gathering at Luxue Pavilion was indeed very enjoyable, proving that Li Wan truly understands poetry and poets. Luxue Pavilion is the preferred place for composing poems under the snow, but it's a public space, and since it wasn't an official club day, no one was hosting. Therefore, Li Wan proposed pooling her resources, exempting Xiangling, Baoqin, Li Wen, Li Qi, Xiuyan, Yingchun, and Xichun from contributing. She only required Baochai, Daiyu, Chai, and Tan to each contribute one tael, while she herself would contribute two taels, making a total of six taels. Baochai, Daiyu, Chai, and Tan were all members of the poetry club and mistresses; they were not short of money. Who else but them should contribute? "Baochai and the others all agreed," without mocking Li Wan's stinginess, proving that Li Wan's handling was fair and popular. A

　　similar example is the banquet at Yihong Palace in Chapter 63, where Xiren organized the event. She, Qingwen, Sheyue, and Qiuwen each contributed five qian of silver, totaling two taels. Fangguan, Bihen, Chunyan, and Si'er each contributed three qian of silver, totaling three taels and two qian. Qingwen said, "This is based on everyone's heart." This example is sufficient to resolve the doubts about pooling resources in Chapter 49. The idea of forming a poetry club was originally a refined hobby for everyone, and it was only right that Bao-yu, Dai-yu, Bao-chai, Tan-yu, and Li-wan pooled their resources to truly express everyone's feelings. Conversely, if Li-wan were to take on all the roles, it would make her seem hypocritical, pretentious, and lacking in poetic understanding. Later, Bao-yu recalls, "I still remember when we first formed the Begonia Poetry Club, everyone was composing poems and hosting, how lively it was!" You see, which poet in the Grand View Garden didn't consider hosting a wonderful thing? Everyone was eager to do it!

　　 In Chapter 37, at the Begonia Poetry Gathering, Xiang-yun arrived late, and Li-wan and others said, "He's late, so let's punish him by having him compose a poem first. If it's good, we'll invite him to join the club; if it's not good, we'll punish him by having him host a poetry gathering." Xiang-yun laughed and said, "You forgot to invite me, so I'll punish you too! Just give me a rhyme; although I can't, I'll have to make a fool of myself. Let me join the club, sweep the floor, and burn incense, I'll be happy to do it." This passage is entirely about the poet's sentiments. Li-wan and others' suggestion to punish Xiang-yun by having her host a poetry gathering is precisely an attempt to test their poetic talent. Therefore, "everyone liked him even more because they found him so interesting."

　　Xiangyun's Begonia Poetry Club later surpassed Xiangyun's, thus avoiding punishment. However, she proactively suggested, "Tomorrow, I'll be punished by hosting a poetry club first." This was still her hobby, and of course, no one wanted to dampen her spirits, so they all said, "This is even better!" Since it wasn't a formal poetry club day, whoever felt like hosting would host—this was the rule, and there was a prior agreement: "If any of you feel like it during this period, just choose another day to hold a club meeting, even if it's every day for a month, I won't mind."

　　 Chapter 70 says, "Our poetry club has been disbanded for a year, and not a single person has felt like hosting." Was it because Li Wan was stingy and unwilling to host on time? Not at all. The Begonia Poetry Club ended prematurely due to the tragedy of the Grand View Garden. The Grand View Garden declined from its peak, and the poets no longer had the enthusiasm to gather and compose poems. The Peach Blossom Club, which was finally rebuilt in Chapter 70, was also short-lived.

　　Looking back: Why did Fengjie mock Li Wan for being "stingy" in Chapter 45? Earlier, during the birthday celebration, Li Wan was supposed to contribute twelve taels of silver, but Grandmother Jia insisted on taking it, forcing Feng Jie to agree instead. Then, Feng Jie embezzled the money from You Shi, ultimately contributing nothing. Later, when Feng Jie took her anger out on Ping'er, Li Wan pulled Ping'er away to the Grand View Garden, where "Ping'er stayed overnight at Li Wan's place." Because of these two incidents, Feng Jie harbored resentment and spoke ill of Li Wan. Therefore, the accusation Feng Jie leveled against Li Wan is invalid. Li Wan didn't care about the twelve taels at the time, but Grandmother Jia wanted to play the good guy, so Li Wan naturally couldn't say anything. On the contrary, it was Feng Jie who cheated, not contributing a single penny. If anyone should be considered stingy, it should be Feng Jie, so it's strange that the reader keeps focusing on Li Wan.

In conclusion, whether it was hosting the poetry club, standing up for Ping'er, maintaining neutrality in the conflict between Daiyu and Baochai, or secretly assisting Fengjie at Grandmother Jia's funeral, Li Wan demonstrated generosity, a sense of justice, compassion, a broad perspective, responsibility, decisiveness, and the ability to uphold justice without favoritism. She was also extremely eloquent, truly deserving of the title of stateswoman of the Grand View Garden.

The judgment and songs in Chapter 5 foreshadow Jia Lan's high rank and Li Wan's adornment in a phoenix coronet and wedding robes. On her deathbed, Grandmother Jia instructed Jia Lan, "When you grow up, make sure your mother has a glorious future." During Grandmother Jia's funeral, everyone flattered her, saying, "No one can compare to Lan-ge'er. Madam, you have nothing to worry about in the future." Jia Lan made progress in his studies, and in the last two chapters, he indeed passed the imperial examination and became a Juren (a successful candidate in the provincial examination). "Li Wan was delighted," and Aunt Xue said, "Look at Madam, now Lan-ge'er has passed the Juren examination and will become a Jinshi (a successful candidate in the highest imperial examination) next year. Isn't that what it means to be an official? He has endured all the hardships before, and this sweetness is a reward for being a good person."

　　 However, the author later gave Jia Lan a tragic ending. The line "The road to the Yellow Springs is dark and gloomy" in the song immediately follows the previous three lines "proud and spirited," "shining brightly," and "majestic and awe-inspiring," all referring to Jia Lan. The next line, "Ask if any generals and ministers of the past still exist," echoes the "Song of the End" ("Where are the generals and ministers of the past and present? A pile of weeds covers their desolate graves"), further confirming that the road to the Yellow Springs refers to Jia Lan, who has become a general and minister. The village of Daoxiang, with its "mountains without veins behind and water without a source," also alludes to Jia Lan's death.

　　Regarding the cause of Jia Lan's death, please note the third play, *The Fairy Tale*, performed by Yuan Chun in Chapter 18. The story tells of Lu Sheng, a scholar who passed the imperial examinations, being framed by his political enemy Yuwen Rong and sent to lead a western expedition. Fortunately, Lu Sheng is blessed by heaven and not only returns safely but also achieves a great victory, earning numerous military exploits.

Lu Sheng's story foreshadows Jia Lan's fate. At the height of the rebellion on the coast, Jia Lan just passed the imperial examinations. At this time, Jia's political enemies, such as Prince Zhongshun, framed him and sent him to lead the expedition. However, Jia Lan was not as fortunate as Lu Sheng; he died a heroic death on the battlefield. "Only a hollow reputation for posterity," indicating that his death was glorious. In Chapter 119, after the victory at the coast was reported and the emperor granted a general amnesty, "Jia Lan and the other court officials dispersed and paid respects to their teacher," proving that the author later planned to rewrite Jia Lan's death on the coast.

　　Jia Lan's death was a great blow to Li Wan. The song "Cannot withstand the impermanence of life" testifies that Li Wan died of grief upon learning of Jia Lan's tragic death, ending up as a laughingstock for others. The song "Late Bloom" attributes this to the need to "accumulate good deeds for one's children and grandchildren," implying a lack of virtuous conduct.

　　 In summary, Li Wan's life was marked by three major tragedies: first, the loss of her husband in her youth, lamenting, "How swiftly that beautiful youth departs! Never again to mention embroidered curtains and mandarin duck quilts"; second, Jia Lan's death in battle; and third, her own death from depression.