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While commenting, Jin Shengtan also revised the original work, and in addition to the words and sentences, he also made overall deletions. He determined that the last 50 chapters of "Water Margin" were "adding a dog's tail" by Luo Guanzhong, so he cut it off all the work, claiming that he had "the ancient version of Guan Huatang" without sequel, and forged the preface of Shi Nai'an in the past. So he became the 70 chapters of the present. He also asserted that the fifth chapter of "The West Chamber" was not written by Wang Shifu, but also "evil letters", so he cut it off and ended with "Shock Dream".

What he said about "clearing the mind and investigating things" is actually related to shaping the character of a living character. It depends on calm and meticulous observation and the experience of putting himself in his shoes, that is, the so-called "moving the heart" and "appearing". He also attaches great importance to the plot and structure: he believes that the plot should be unexpected, and uses "strange and unrestrained brushwork" and "the dragon jumps and tigers lie down", but it should be reasonable, "writing extremely terrifying things, but using extremely close pens"; he also emphasizes the integrity of the structure, "a book is just a essay".

Chapter ”, the author must be "the overall situation in his heart", so he pays attention to "over-connection", "locking", and "removal", and requires that the writing is like the "monthly corridor", which has a necessary sequence. His so-called "sighting the spirit eyes and holding it with the spirit hands" is similar to the emphasis on creative inspiration; but he also emphasizes "law", saying that "you can't become a dog's howling when you copy the writing", and summarizes various expression techniques, such as "that roll", etc. In short, Jin Shengtan has proposed a more systematic theory of novel and opera creation.

Jin Shengtan also commented on books such as "Mandarin", "National Policy", and "Zuo Zhuan". His comments focus on the interpretation of ideological content, and often use the topic to talk about political affairs, social views, and outlook on life are vivid. He proposed a relatively systematic novel and opera creation theory, and his literary theory and critical performance have made special contributions to the history of the development of my country's literary theory criticism. First, he explained several rules that narrative literary creation such as novels and dramas are different from poetry and prose writing. He emphasized that novels should be "because

Literature creates trouble, but it is not arbitrarily fabricated, and it must follow the logic of life. At the same time, it also puts forward views and methods of literary theoretical criticism centered on shaping the character of the characters. Secondly, it provides a literary criticism centered on evaluating the character analysis and character shaping of the characters in the work. Thirdly, he also summarizes new creative methods and criticism methods such as the inverted insertion method, the grey thread method of grass snake, the mud needle and mud pricking method, the otter tail method. Jin Shengtan has a collection of poems "Selected Poems of Chen Yinlou".

Jin Shengtan absorbed the techniques of scholars in the Ming Dynasty to comment on ancient essays, historical books, and especially eight-legged essays. In addition to "Water Margin", "The West Chamber" and Tang poetry, he also commented on eight-legged essays. [5] Most of the comments on ancient essays and novels in the Ming Dynasty were just circled around the wonderful parts of the article, reminding readers to pay attention, and adding simple comments. Jin Shengtan expanded the old method of commenting, which was as dense as the notes of the scriptures, and was brave enough to modify the original text, cheering himself with comments such as "strange" and "wonderful", and even boasting about the unparalleled comments. He hoped that readers would learn how to read other literary works through their comments. He regarded himself as an authority, and understood or even surpassed the original author's thought world. The purpose of literary comments was not to find the meaning of the ancients, but to interact with future generations, and the interpretation of the work did not need to be the same as the original meaning of the author.

The detailed and detailed comments written by Jin Shengtan are unprecedented in the history of Chinese literary criticism. In the field of novel criticism, his authoritative status surpasses that of Wang Shizhen, Li Zhi and Zhong Xing, and the subsequent Mao Zonggang commented on "Romance of the Three Kingdoms" and Zhang Zhupo's comments on "Jin Ping Mei" were also inferior to those of him. Li Yu praised the unique Jin Shengtan for being able to point out the advantages of "The West Chamber", and went deep into every word; Qing people like Feng Zhenluan, and Mao Qingzhen praised Jin Shengtan for his ingenious comments on "Water Margin". [7] Zhou Zuoren said, "The first thing to criticize novels is to calculate Jin Shengtan." Jin Shengtan's comments are original, distinctive, interesting, and accurate and clear, and meticulous. They focus on the artistic functions of individual words and words, which are far better than the ambiguity of other Chinese poems. Jin Shengtan emphasizes carefully reading the text, which is in line with the 20th generation.

There are similarities in the new criticism schools in Western literary criticism. Western scholars pay special attention to it because their comments and Western literary theory can be invented by each other. Jin Shengtan pointed out that the fifth book of "The West Chamber" was not the original work of Wang Shifu, but was continued by later generations and became an authoritative view. Mao Shengshan and others in the Qing Dynasty agreed with it. There are also people of contemporary times, such as Dong Han criticized his comments for being confused, while Hu Shi criticized his comments for "Water Margin" with the perspective of comments on eight-legged essays, and also criticized him for slandering Song Jiang out of nothing. Modern readers no longer need to read his criticism. Jin Shengtan's comments on Du's poems have no important status in poetry, [8] The importance is far less than his comments on "The Water Margin" and "The West Chamber". Qiu Zhaoao's "Detailed Notes on Du's Poems" are the most authoritative and complete, but he did not mention Jin Shengtan.

Anecdotes and allusionsEdit

Self-titled couplet

Old boxing to fight against ancient Taoism;

A new book with a mouthful of mouth.——Jin Shengtan's self-written

Master Jin Shengtan has humorous writing and has been humorous for a lifetime, and even the important things at the end of his life are still humorous. When the master was imprisoned and was about to be beheaded, he called the prisoner to say "I have something to tell you." The prisoner thought that the master would reveal the secrets of treasures passed down from generation to generation or some earth-shaking event, so he used his pen and ink to serve the master. But he did not expect that the master's "the important things at the end of his life" was still humorous. Jin Shengtan pointed to the food given by the prisoner and said, "Peanuts and dried tofu taste like walnuts. I have passed on this skill and have no regrets when I die!" This is also the last sentence of the master who was recorded.

The knife started to fall, and two balls of paper rolled out from Jin Shengtan's ears. The executioner opened it in confusion and saw: one was the word "good" and the other was the word "pain".

——Jin Shengtan’s “Essential Things to Do at the End of Death”

Jin Shengtan was sentenced to death by the court for offending the emperor and being implicated in the case of "Resisting Grain and Crying Temple". On the day of the execution, a gloomy and solemn space with a small radius was shining with swords and swords around it, which looked gloomy and terrifying. He was so elegant that his chest was covered with dragons and snakes, and he was a literary critic who despised the court. He stood on the prison car with a shackle on his shackle. On the execution ground, the executioner held a ghost-headed knife with a cold light, which was creepy and chilling. Seeing that the execution time was about to come, Jin Shengtan's two sons, Li Er and Lian Zi (nickname), looked at the kind father who was about to die for forever, and she became even more sad and tears were like a spring. Although Jin Shengtan felt sad, he was calm and his literary thoughts were more agile.
Chapter completed!