《紅樓夢》的書寫筆法，一向為紅學界研究的重點，「不寫之寫」此創作方法， 雖偶有零星論文觸及， 卻少有專文單獨討論。然而脂批指出：「此書通部皆用此法」， 可見「不寫之寫」乃《紅樓夢》全書最重要的書寫策略。而脂硯齋又在多處批語中提到《紅樓夢》作者所運用的「春秋筆法」、「春秋字法」，可見「春秋筆法」亦為《紅樓夢》一書的書寫原則。基於上述的問題意識，本文針對脂批所評的「不寫之寫」、「春秋筆法」等線索， 釐清「不寫之寫」與「春秋筆法」的內涵及其關係，並勾勒《紅樓夢》「春秋筆法」的書寫體例， 綜其要有四：（ 一）一擊兩鳴：要角不寫而寫他影；（ 二）大旨談情：時世不寫而寫閒情；（ 三）明褒暗貶：風刺不寫而寫讚譽；（ 四）真事假語：真相不寫而寫假語。脂批作為《紅樓夢》最重要的讀者而言， 其指出《紅樓夢》四種「不寫之寫」的書寫策略，秉持春秋褒貶大義之「為尊者諱，為親者諱， 為愛者諱」的慈悲心情， 不但豐富了《紅樓夢》文本的美學意涵與歷史價值， 也成為掌握《紅樓夢》文本意義不可或缺的重要文獻。 The writing skills of The Dream of the Red Chamber have always been the focal points of research in Redology (the study of The Dream of the Red Chamber). Though some discussions have appeared in sporadic essays, there are few focal points of discussion on the creation method of “Writing without writing.” Notwithstanding, comments by Zhi Yanzhai indicated that “this method has been widely adopted,” and it is evident that “Writing without writing” is the most important spirit of writing in The Dream of the Red Chamber. Zhi Yanzhai mentioned ”Writing style of the Spring and Autumn Annals” and “Lettering of the Spring and Autumn Annals” applied by Cao Xueqin, the author of classic The Dream of the Red Chamber, in commentaries, and it’s clear that “Writing style of the Spring and Autumn Annals” is the writing principle for The Dream of the Red Chamber .In view of the preceding problem awareness, this essay aims to clarify the connotations of “Writing without writing” and “Writing style of the Spring and Autumn Annals” and the correlations based on the clues commented by Zhi Yanzhai. This essay also draws the outline of writing styles for “Writing style of the Spring and Autumn Annals” of The Dream of the Red Chamber: (1) Multiple resonance: Delineate other images rather than the leading roles; (2) Mainly talk about passion: write leisure rather than current events; (3) Damn with faint praise: satirize the praise of “Writing without writing” and (4) Real events and make-up words: hide the real events and make up words.
