1. 的心灵化提炼整合，特别是审美情趣化的艺术重铸，就必然要按照自己的审美情感，对所要表现的客观物象，不论是人物还是事件，乃至社会环境、自然景色都作出符合整体艺术构想、整体价值追求的变形化重铸，并形成独到的艺术主旨与人生品悟。这就是黑格尔所说的“感情的东西是经过心灵化了，然而心灵化的东西，也借感性化而显现出来”（

1. The refined integration of the essence of the soul, especially the artistic reconstruction characterized by aesthetic taste, inevitably requires, according to one's aesthetic emotions, to reshape the objective objects to be portrayed, whether they are characters, events, or even social environments and natural landscapes, in a way that conforms to the overall artistic conception and the pursuit of overall values. This results in unique artistic themes and insights into life. This is what Hegel said: "The emotional is spiritualized, yet the spiritualized also manifests itself through sensibility."

2. 。楞以说没有作者这种主观心灵的审美筛选、改造与重铸，就没有艺术独创，也就不成其为艺术品。 大观园那“佳园结构类天成”（

2. It can be said that without the subjective aesthetic selection, transformation, and reconstruction of the author's mind, there can be no artistic originality, and thus it cannot be considered an artwork. Da Guan Yuan's "excellent garden structure resembling something naturally formed" (

3. 天上铁砧云，很快大雨淋。

3. Iron anvil clouds in the sky, heavy rain will pour soon.

4. 南风怕水溺，北风怕日辣。

4. The south wind fears water submersion, the north wind fears the sun's scorching.

5. 一级演员。陕西省戏曲研究院秦腔团副团长。“省电视百佳演员”。省秦腔艺术研究会常务理事；省慈善协会常务理事。主演剧目有《三滴血》、《五典坡》等10余部。1984年考入本院，改工丑角。师承名家闫振俗、李兴等人。演出剧目有本戏《十五贯》、《海瑞驯虎》、《忠保国》，折子戏《杨三小》、《拾黄金》、《打砂锅》、《二娃审案》及小品《瓜女了》等。获陕西丑角大赛一等奖；国际小戏小品大赛优秀表演奖；“金狮奖”全国小品大赛二等奖；“中城之星”优秀剧目展演优秀表演奖，中国秦腔艺术节优秀表演奖；陕西小戏小品大赛优秀表演奖等10余项奖项。

5. A first-grade actor. Deputy Director of the Shaanxi Opera Research Institute's Qin Opera Troupe. "Top 100 TV Actors in the Province." Standing member of the Shaanxi Qin Opera Art Research Association; Standing member of the Shaanxi Charity Association. Stars in more than 10 plays including "Three Drops of Blood," "Five Steeps," and others. Enrolled in the institute in 1984, changed to play the roles of clowns. Disciple of famous actors Yan ZhenSu, Li Xing, and others. Performs in plays such as the full-length play "Fifteen Catties," "Hai Rui Taming the Tiger," and "Loyalty Protecting the Nation," as well as excerpted plays such as "Yang San Xiao," "Pick Up Gold," "Break the Pot," "Erwa Trials a Case," and the sketch "Gua Nü Le" and others. Awarded the first prize in the Shaanxi Clown Competition; Excellent Performance Award in the International Short Play and Sketch Competition; Second Prize in the "Golden Lion Award" National Sketch Competition; Excellent Performance Award in the "Central City Star" Excellent Play Presentation, Excellent Performance Award at the China Shaanxi Opera Art Festival, and Excellent Performance Award in the Shaanxi Short Play and Sketch Competition, and more than 10 other awards.

6. 都是“追踪蹑迹，不敢稍加穿凿”，严格忠实于生活真实；可是，却是“只取其事体情理”，又是“用假语村言，敷演出一段故事来”的，显然就有取舍，有想象，有虚构，即便是时间、空间也是虚构的，并未“拘拘于朝代年纪”；尽管书中的物态环境、家庭变故与人物形象都有可能取自生活的原型，脱胎于作者亲历过的一些人和事，这恐怕是任何一部优秀小说都会有的情况，但是，当作者把这些 生活的原型转化为小说化的艺术世界时，都必然要受到他们自身对世态人生的独特感受与审美情趣的支配与制导，并按照小说世界的总体构思进行必要的改造与重铸。因为文学总是要表现世态人生，尤其是要表现人物的精神世界的，并且都要借助这个形象世界，表现出作者对生活的切身体验与审美评价，“传达出一种远远超出形象自身的意义”（

6. They all "follow the traces and dare not add any exaggeration," strictly faithful to the reality of life; yet, they "only take the events and their logic," and also "use false rustic language to fabricate a story," which clearly shows selection, imagination, and fiction. Even time and space are fictional, not "restricted by dynasties and ages." Although the material environment, family events, and character images in the book may all be derived from life's prototypes, emerging from the author's personal experiences with certain people and events, this is a situation that any excellent novel would likely have. However, when the author transforms these life prototypes into an artistic world of fiction, it is inevitably influenced and guided by their unique perceptions of the world and life, as well as their aesthetic tastes. They also have to make necessary transformations and recasting according to the overall conception of the fictional world. Because literature always aims to depict the world and life, especially the spiritual world of characters, and it must rely on this world of images to express the author's personal experience and aesthetic evaluation of life, "conveying a meaning far beyond the images themselves."

7. 老云结了驾，不阴也要下。

7. The old clouds have tied their sails, it will rain even if it's not cloudy.

8. 天上豆荚云，不久雨将临。

8. Clouds like pods in the sky, rain is sure to come soon.

9. 五度定弦，音域三个八度。因其音色高亢明亮，成为北方梆子腔类的戏曲和曲艺的主要伴奏乐器，近年来多用于独奏，流传较广的有郭富团作曲的《秦腔牌子曲》、鲁日融作曲的《秦腔主题随想曲》。这些取材于秦腔曲牌和唱腔的独奏曲，塑造了西北人民豪放热烈的宽广胸怀。

9. Tuned with a five-tone scale, the tonal range spans three octaves. Due to its high and bright timbre, it has become the main accompaniment instrument for the opera and instrumental music of the Beijing Erhuang opera style. In recent years, it has been widely used in solo performances, with the "Qin Opera Melody Suite" composed by Guo Futuan and the "Fantasy on the Qin Opera Theme" composed by Lu Rirong being particularly well-known. These solo pieces, which are derived from the Qin Opera melodies and singing styles, have shaped the expansive, open-hearted and enthusiastic character of the people in the northwest region.

10. 秦腔不是厅堂的艺术，它是根植于土地的旋律。秦腔表演朴实粗犷、细腻深刻，以情动人、富于夸张性。今天它在西北地区的民间影响力依然令人吃惊，但是对于西北以外的人而言，秦腔已经接近于一个难以普及和理解的古董。

10. Qin Opera is not an art confined to halls; it is a melody rooted in the land. Qin Opera performances are straightforward and rough, yet delicate and profound, moving people with emotion and full of exaggeration. Today, its influence in the folk culture of the northwestern region still surprises people, but for those outside the northwest, Qin Opera has almost become an ancient relic that is difficult to popularize and understand.

11. 其实，南方的戏曲如黄梅戏、花鼓戏等，给人的感觉像是生活中的摆设或是点缀，就是为了让人更舒服。秦腔则不是，它更有抒发个人内心的情感的色彩，比如郁闷的情感，高亢的情怀等。所以听南方戏曲，有时会觉得它们不解馋、不来劲。而听秦腔就很解馋、很来劲。秦腔要的就是那种在大风底下再带点儿沙子的感觉。陕西人在大风底下大吼秦腔，好像是跟那个风声要比赛一样，然而自有豪壮粗犷的精神在其中。故有“八百里秦川尘土飞扬，三千万秦人齐吼秦腔”的谚语。

11. In fact, southern operas like Huangmei Opera and Huaguzi Opera, etc., give people a sense of being decorations or embellishments in life, just to make people more comfortable. Qin Opera, on the other hand, is different as it has a stronger emotional expression, such as feelings of depression or exuberant sentiments. Therefore, when listening to southern operas, one might feel that they are not satisfying or stimulating enough. However, listening to Qin Opera is both satisfying and invigorating. What Qin Opera seeks is a feeling of being under the howling wind, with a touch of sand. Shaanxi people shout Qin Opera under the strong wind, as if competing with the wind itself, yet there is a sense of robust and rough spirit within. Hence, there is the saying, "Over eight hundred miles of Shaanxi plain, dust flies, and thirty million Shaanxi people shout Qin Opera together."

12. 早晨云挡坝，三天有雨下。

12. In the morning, clouds block the dam, and it will rain for three days.

13. 低云不见走，落雨在不久。

13. The low clouds do not disperse, and rain is approaching soon.

14. 的要求进行评价，而不是脱离小说世界的实际描绘，去捕风捉影猜测小说之外的东西。固然作者写的贾府可能参照了曹氏家族的荣辱盛衰情状，甚至正是经历了自己家族的这种荣辱盛衰的落差，并由此引起的种种感情激荡与心灵创伤后，才激起创作红楼世界的冲去与构想的。大观园的“天上人间诸景备”的端庄秀丽景色，也可能胡照了作者亲见过的某些园林、庭院，比如恭王府、圆明园等；书中的一些人物也可能有他周围的人物原型作参照，但是，一经作者按照整个红楼艺术世界的整体运筹，特别是作者的审美化艺术过滤，就必然经过作者“不必是曾有的实事”，但必须是“会有的实情”（

14. The evaluation should be based on the actual depiction within the novel's world, rather than speculating about things beyond the novel based on conjecture. Although the author's depiction of the Jia family may have been influenced by the rise and fall of the Cao family, and it might be that the author experienced the same ups and downs in their own family, leading to various emotional upheavals and psychological traumas, which then inspired the creation of the Red Chamber world. The dignified and beautiful scenery of the Da Guan Garden, with its "scenery of heaven and earth," may have been inspired by certain gardens and courtyards that the author had seen, such as the Gong王府 and the Yuan Ming Yuan. Some characters in the book may also be based on real people from the author's surroundings. However, once the author integrates them into the overall planning of the Red Chamber artistic world, especially through the author's aestheticized artistic filtering, it is inevitable that they will go through the process of transforming "not necessarily something that has actually happened" into "something that could actually happen."

15. 早晨东云长，有雨不过晌。

15. In the morning, if Dong Yun Chang (the eastern cloud) is long, it won't rain before noon.

16. 早晨棉絮云，午后必雨淋。

16. If there are cotton wool clouds in the morning, it will definitely rain in the afternoon.

17. 满天水上波，有雨跑不脱。

17. Waves upon the sky, you can't run from the rain.

18. 黑云起了烟，雹子在当天。

18. Dark clouds rose and hailstones fell that very day.

19. 顶风上云，不雨就阴。

19. To brave the wind and clouds, without rain it will be overcast.

20. 南风吹到底，北风来还礼。

20. The south wind blows to the end, and the north wind returns the favor.

21. 天上钩钩云，地上雨淋淋。

21. High above, the hook cloud hangs, on the ground, it rains heavily.

22. 。这种审美评价正是作者对世态人生的独特感受与审美独创，因此，“他不仅是对他在自然中发现的东西加以选择和重新组合，还要把整个可见物体加以重新组合，使之服从天他自己发现、创造和纯化的秩序和结构”（

22. This aesthetic evaluation is a unique perception and aesthetic originality of the author towards the world and life, therefore, "he not only selects and recombines what he discovers in nature, but also recombines the entire visible object, making it conform to the order and structure that he himself discovers, creates, and purifies."

23. 暴热黑云起，雹子要落地。

23. Dark clouds rise with intense heat, hailstones are about to fall.

24. 乌云接日头，半夜雨不愁。

24. Dark clouds embrace the sun, no worry of rain in the middle of the night.

25. 雨后刮东风，未来雨不停。

25. East wind after rain, future rain will not stop.

26. 。这就是说：小说创作不可能是生活原型的照搬或复制，总要受作者的人生阅历、知识结构、社会地位、美学情趣、艺术造诣与文化心理合成的心理定势的支配与制约，而且都“不能超出他们的时代给他们划出的界限”（

26. This means that novel writing cannot be a mere copy or replication of the original life prototype. It is always subject to the influence and constraint of the author's life experiences, knowledge structure, social status, aesthetic interests, artistic proficiency, and the psychological disposition synthesized by cultural psychology. Moreover, all of these "cannot exceed the boundaries set by their own era."

27. 国家一级演员。中国剧协会员，省剧协会员。1972年从艺，先后在靖边、安塞、榆林地区文工团及陕西省戏曲研究院工作。主工须生。1985年至1999年任榆林地区文工团业务团长。被授予省“新长征突出手标兵”、“德艺双馨”等荣誉称号，被省文化厅、文化部评为尖子演员、秦腔百佳演员。参加了徽班进京200周年纪念演出。演出的保留剧目有《窦娥冤》、《周仁回府》、《三子争父》、《齐王悔宫》、《铡美案》、《赵氏孤儿》等。获西北五省“咸阳杯”比赛一等奖，首届中国秦腔艺术节清唱一等奖，省第四届艺术节“最高荣誉奖”等省、内外戏曲大赛一等奖、特别奖10余次。曾出访日本演出10余场。随团赴台湾演出。

27. National First-Class Actor. Member of the Chinese Theatrical Association, member of the Provincial Theatrical Association. Began acting in 1972, and worked successively in the cultural and artistic troupes of Jingbian, Anse, Yulin regions, as well as the Shaanxi Provincial Opera Research Institute. Specializes in the role of the elderly male lead. From 1985 to 1999, served as the business director of the Yulin Regional Cultural and Art Troupe. Awarded titles such as "Outstanding Vanguard of the New Long March," "Excellence in both Virtue and Art," and others by the provincial culture department.被评为尖子演员、秦腔百佳演员 by the Provincial Culture Bureau and the Ministry of Culture. Participated in the 200th anniversary performance of the Hui Opera troupe entering Beijing. The repertoire performed includes "The Wrongful Death of Dou E," "Zhou Ren Returning to His Mansion," "The Three Sons Contesting Their Father," "King Qi Repents in the Palace," "The Decapitation of the Beauty Case," and "The Orphan of the Zhao Family," among others. Won first prizes in various provincial and national drama competitions, including the "Xianyang Cup" competition of the five northwestern provinces, the first Chinese Qin Opera Art Festival solo recitation first prize, the "Highest Honor Award" of the fourth provincial art festival, and more than 10 special awards. Has performed in Japan for more than 10 shows. Also performed with the troupe in Taiwan.

28. 雨前有风雨不久，雨后无风雨不停。

28. Before the rain, there are wind and rain soon to follow; after the rain, there is no wind or rain that stops.

29. 春天刮风多，秋天下雨多。

29. In spring, there are many windy days, and in autumn, there are many rainy days.

30. 雹来顺风走，顶风就扭头。

30. Hail comes with the wind and moves along; against the wind, it turns its head.

31. 乌云脚底白，定有大雨来。

31. The clouds at the bottom are white, a heavy rain is sure to come.

32. 西北恶云长，冰雹在后晌。

32. The evil clouds of the northwest linger, hail follows in the afternoon.

33. 开门风，闭门雨。

33. Open door, wind; close door, rain.

34. 板胡，形似二胡，因琴筒上蒙木板而得名。琴杆多用红木、乌木等质地坚硬的木料制作，弓杆较粗。一般按

34. Banhu, resembling the erhu, is named for the wooden board covering the body of the instrument. The neck is usually made of hard wood materials such as redwood or ebony, and the bow is thicker. Generally, it is played by...

35. 早晨浮云走，午后晒死狗。

35. In the morning, the floating clouds wander; by noon, the dogs are baked to death.

36. 东风不过晌，过晌翁翁响。

36. The东风 doesn't pass at noon, and after noon, the old man's voice resounds.

37. 今晚花花云，明天晒死人。

37. Tonight, the flowers are in the clouds; tomorrow, the sun will bake people to death.

38. 另外还有：赵扬武、张玉梅、王化武、陈魁、段桂珍、张波

38. In addition, there are: Zhao Yangwu, Zhang Yumei, Wang Huawu, Chen Kui, Duan Guizhen, Zhang Bo.

39. 早雨一日晴，晚雨到天明。

39. If it rains early in the morning, it will be sunny by afternoon; if it rains in the evening, it will rain until dawn.

40. 东风下雨东风晴，再刮东风就不灵。

40. When the east wind blows, it rains; when the east wind clears, it's sunny. If the east wind blows again, it's no longer effective.

41. 用陕西人讲法秦腔是百戏之祖。说秦腔是百戏之祖并非捕风捉影，实际上很多民族音乐里都有秦腔的影子，包括家喻户晓的中国哀乐，正是通过秦腔哭音的音调慢慢发展起来的。事实上秦腔对各地梆子声腔的形成产生过直接的影响，它的唱腔板式变化丰富表现力极强，秦腔的舞台样式积累也很丰厚，戏文曲目约有3000多种，保存下来的传统抄本有2700多个。

41. According to the Shannxi people, Qin Opera is the ancestor of all forms of opera. It is not just an idle statement to say that Qin Opera is the ancestor of all forms of opera. In fact, Qin Opera's influence can be found in many ethnic music, including the widely-known Chinese funeral music, which has gradually developed through the tone of Qin Opera's crying sound. In fact, Qin Opera has had a direct impact on the formation of dialectical tunes in various regions. Its singing style is rich in variations and has a strong expressive power. The accumulation of Qin Opera's stage style is also very substantial, with about 3,000 different plays, and over 2,700 traditional manuscripts have been preserved.

42. 南风腰中硬，北风头上尖。

42. The south wind is hard in the waist, and the north wind is pointed at the head.

43. 半夜东风起，明日好天气。

43. At midnight, the east wind rises, promising fine weather for the next day.

44. 不刮东风不雨，不刮西风不晴。

44. No rain without the east wind, no sunshine without the west wind.

45. 东风湿，西风十，北风寒，南风暖。

45. The east wind is damp, the west wind is ten, the north wind is cold, and the south wind is warm.

46. 风头一个帆，雨后变晴天。

46. A single sail in the wind, clear skies after the rain.

47. 风乱转，不用算。

47. The wind is chaotic, no need to calculate.

48. 南风若过三，不下就阴天。

48. If the south wind blows for three consecutive days, it will not rain but will turn cloudy.

49. 急雨易晴，慢雨不开。

49. Rain that falls quickly clears up easily, rain that falls slowly doesn't clear up.

50. 的景色，那园中有园、园 查看原帖>>

50. The scenery, where there are gardens within gardens... View original post >>

51. 大风怕日落，久雨起风晴。

51. The strong wind fears the setting sun, and after a long rain, the wind brings clear skies.

52. 春起东风雨绵绵，夏起东风并断泉。

52. In spring, the east wind brings on continuous rain, and in summer, the east wind stops the flowing spring.

53. 无风现长浪，不久风必狂。?>

53. Without wind, there are long waves, but soon the wind will be fierce.

54. 无风起横浪，三天台风降。

54. Storms arise without wind, and in three days, typhoons descend.

55. ，就是物态环境也会作出相应的变动。所以，他们对客观世界进行物态化的运筹与艺术冶炼时，就必然产生变形化的重铸，从而打上作者主观精神的投影。不论是他们看到的还是想象模拟的艺术世界，也就不是原来的客观世界的本来面目，而是他们自己心目中的世界。所以，小说世界只能是主观化的、心灵化的意象世界，虚拟化、变形化的模拟世界，是主观心灵与客观对象相互碰撞、相互融合的产物，与生活原型已经是有变导、有变形的导化存在，不可混淆等同了。 所以，研究《红楼梦》的艺术世界，就应该把它当作虚拟化的小说世界来看，按照小说世界的艺术真实——“只要逼真”“不必实有其事”（

55. Even the physical environment will undergo corresponding changes. Therefore, when they engage in the materialization and artistic refining of the objective world, it is inevitable that they will produce变形化的重铸, thereby imprinting the projection of the author's subjective spirit. Whether it is the artistic world they see or the imaginative simulation, it is not the original face of the objective world but the world as they envision it in their hearts. Therefore, the world of the novel can only be a world of subjectified, spiritualized imagery, a virtual and deformed simulated world, a product of the collision and fusion of subjective spirit and objective objects, which has already been transformed and deformed from the original prototype of life, and cannot be confused or equated. Therefore, when studying the artistic world of "Dream of the Red Chamber," it should be regarded as a virtualized world of the novel, and understood according to the artistic truth of the novel world — "as real as it needs to be" and "it doesn't have to be a real event."

56. 雨后东风大，来日雨还下。

56. After the rain, the east wind is strong, and it will rain again the next day.

57. 黑黄云滚翻，将要下冰蛋。

57. Dark and yellow clouds are rolling and about to drop hail.

58. 《红楼梦》的小说世界 《红楼梦》是小说，就应该把它当作小说来看，不能当作历史真实去考证；《红楼梦》是文学作品，就应该按照文学的特征观照，不能当作实有的人和事去还原；《红楼梦》是个模拟想象的艺术世界，就应该用模拟想象的特点去诠释，不应用经学、史学的方法去考证。 大概由于我国古代史传与小说本是同体同宗，小说是尔后由史传分离转化而来的，所以长期以来人们总是惯于以史传的眼光要求小说、评价小说。这种集体无意识直到现在仍制约着人们的研究视野，在研究《红楼梦》文本时，就常常离开小说的虚拟想象的特征，去索隐其中的人和事。或是脱离小说中的人物具象描绘，从字里行间“挖掘”人物出身的高贵或寒微，寻求象外的所谓政治隐曲；或是把红楼世界当作实有空间去考证，比如把大观园当作实在园林，甚至等同于恭王府或圆明园去追踪。这就涉及到一个基本出发点：怎么尊重作者本人的艺术描绘，以小说的意象特征去看《红楼梦》的小说世界，以及它的物态环境与人物形象的具象描绘。 谁都知道《红楼梦》是部小说，不是纪实文学。它既非曹氏的家境与家史纪实，又非曹雪芹或别个的身世传记。作者明确指出：尽管其间的“离合悲欢，兴衰际遇”（

58. The Novel World of "Dream of the Red Chamber" "Dream of the Red Chamber" is a novel, and it should be treated as such; it cannot be used as historical fact for verification; "Dream of the Red Chamber" is a literary work, and it should be viewed according to the characteristics of literature; it cannot be还原 as real people and events; "Dream of the Red Chamber" is an artistic world of simulated imagination, and it should be interpreted with the characteristics of simulated imagination, not with the methods of Confucian or historical studies. Perhaps because ancient Chinese historical texts and novels were originally of the same origin, novels were later separated from historical texts and transformed. Therefore, for a long time, people have been accustomed to viewing and evaluating novels with the perspective of historical texts. This collective unconsciousness still restricts people's research perspective today. When studying the "Dream of the Red Chamber" text, people often deviate from the fictional imaginative characteristics of the novel to seek out the people and events within it. Or, they may脱离 the concrete portrayal of characters in the novel and "挖掘" the nobility or humility of a character's origin from between the lines, seeking political implications beyond the narrative; or treat the Red Chamber world as an actual space for verification, such as treating Da Guan Yuan as an actual garden, or even equating it with the Guong王府 or Yuanming Yuan to trace its history. This involves a fundamental starting point: how to respect the author's artistic portrayal, view the novel world of "Dream of the Red Chamber" and its concrete depiction of material environment and character images through the imagery features of the novel. Everyone knows that "Dream of the Red Chamber" is a novel, not a factual literature. It is neither a record of the Cao family's background and history, nor a biography of Cao Xueqin or anyone else. The author explicitly states: although there are "partings, joy, sorrow, and vicissitudes" (

59. 常刮西北风，近日天气晴。

59. The wind usually blows from the northwest, and the weather has been clear recently.

60. 东风急，备斗笠。

60. The wind is fierce, prepare the bamboo hat.

61. 晌午不止风，刮到点上灯。

61. If the wind does not stop at noon, it will blow until it's time to light the lamps.

62. 南风转东风，三天不落空。

62. The southerly wind turns to easterly, and it will not fail for three days.

63. 秦腔如泣如诉、撕心扯肺像杯烈酒，让人沉醉。

63. Qin opera is like weeping and complaining, heart-wrenching, resembling a glass of strong wine, which makes people drunk.

64. 秦人之声吼劈了嗓子、嘴角流血的感觉是秦腔的灵魂。

64. The roar of the Qin people, the feeling of splitting the throat and bleeding at the corners of the mouth, is the soul of the Qin Opera.

65. 东风急，雨打壁。

65. The east wind is fierce, rain beating against the wall.

66. 雨后西南风，三天不落空。

66. After the rain, the southwest wind continues for three days without fail.

67. 五月南风下大雨，六月南风井底干。

67. In May, the south wind brings heavy rain; in June, the south wind dries up the well bottom.

68. 云吃火有雨，火吃云晴天。

68. If clouds eat fire, it will rain; if fire eats clouds, it will be sunny.

69. 西安闹市中心的秦腔剧社——易俗社，原名陕西伶学社，被公认为世界艺坛三大古老剧社之一。1912年创办以来培养了众多名家名角和无数的戏迷爱好者。九十多年来西安易俗社涌现了多出精彩的剧目《三滴血》《游西湖》《游龟山》等等，多次进京演出受到国家嘉奖和观众喜爱。

69. The Qin Opera Troupe in the bustling central area of Xi'an, known as Yisu Troupe, originally named Shaanxi Opera Society, is widely recognized as one of the three oldest drama troupes in the world. Since its establishment in 1912, it has cultivated numerous famous actors, renowned artists, and countless drama enthusiasts. Over the past ninety years, the Yisu Troupe in Xi'an has produced many excellent plays such as "Three Drops of Blood," "Journey to West Lake," and "Journey to Guishan Mountain," which have been performed in Beijing multiple times, receiving national commendations and the audience's favor.

70. 空中鱼鳞天，不雨也风颠。

70. Fish scales in the sky, no rain but wind is crazy.

71. 国家一级演员。工须生。1980年考入潼关县剧团，1983年调入陕西省戏曲研究院眉碗团。在《法门寺》、《团圆之后》、《花烛恨》、《留下真情》、《好年好月》、《屠夫状元》等数十部剧目中担任主要角色。获全国现代戏交流演出表演奖；省“中城之星”表演奖等10余项奖；1997年被授予“青年表演艺术家”称号。

71. National first-class actor. Specializes in the Shu-style role. Enrolled in the Tangguan County Drama Troupe in 1980, and transferred to the Meiwan Troupe of Shaanxi Provincial Opera Research Institute in 1983. Played leading roles in dozens of plays including "Famen Temple", "After Reunion", "The Hatred of the Flower Lantern", "Leaving True Feelings", "Good Year, Good Month", and "Butcher the Top Scholar". Won the National Modern Opera Exchange Performance Award; more than 10 awards including the Provincial "Zhongcheng Star" Performance Award; and was awarded the title of "Youth Performance Artist" in 1997.

72. 南风怕日落，北风怕天明。

72. The south wind fears the setting sun, the north wind fears the dawn.