“当晨曦初露，朝阳映照在窗棂之上，我独自坐在书桌前，耳畔回荡着那句‘欧阳叶绝句’，心中涌起一股莫名的思绪。红墙绿瓦，梦回古巷，今日，我又将踏上一段怎样的旅程？”

"As the first light of dawn breaks, the sun's rays shine on the windowsill, and I sit alone in front of my desk, the words of that 'Ouyang Ye Quatrain' echoing in my ears, a strange thought arises in my heart. Red walls and green tiles, dreaming back to the ancient alleyways. Today, what kind of journey will I embark on?"

1. 从这首诗里我们品味出了这样一个曹雪芹：一个洞悉社会，冷眼看世人的人；一个怀着惊天纬地之才却被黑暗现实埋没的人；他或许饱尝世态炎凉，却拥有满腔热血；他或许消极避世，却又是一个伟大的现实主义者！

1. From this poem, we have tasted such a Cao Xueqin: a person who is insightful about society and watches the world with a cold eye; a person who possesses extraordinary talents but is buried by the dark reality; he may have tasted the coldness and warmth of the world, yet he still has a heart full of passion; he may be pessimistic and withdraw from the world, but he is also a great realist!

2. “满纸荒唐言”，指《红楼梦》全书；言，文字。小说以贾史王薛四大家族的家庭琐事，尤以贾宝玉与林黛玉的爱情悲剧为主要线索，刻画了一系列个性鲜明、遭遇悲惨的女性形象，这与当时社会上盛行的描写才子佳人大团圆结局的作品风格截然不同，使得《红楼梦》成为当时文坛的一个另类。

2. “满纸荒唐言” refers to the entire novel “Dream of the Red Chamber.” Here, “言” means text or words. The novel focuses on the domestic trivialities of the four noble families of Jia, Shi, Wang, and Xue, with the love tragedy between Jia Baoyu and Lin Daiyu as the main thread. It portrays a series of women with vivid personalities and tragic fates, which is starkly different from the prevalent style of works at the time that depicted the happy endings of scholar girls. This uniqueness makes “Dream of the Red Chamber” a distinct outlier in the literary scene of its time.

3. 甄宝玉，“众人皆知假宝玉，可知还有真宝玉”？甄宝玉才是因凡心偶动下凡历劫的神瑛侍者，也是林黛玉即绛珠仙草真正要报恩的对象。

3. "Everyone knows about the false Jia Baoyu, but do you know there is also a true Jia Baoyu?" It is Jia Baoyu who is the divine attendant of Shen Ying, descending to the mortal world for a journey of trials and tribulations due to a fleeting stir of worldly desires. He is also the true object of gratitude for Lin Daiyu, the true Jiao Zhu Xiancao (Jade Orchid Fairy Grass).

4. 生小金闺性自娇，可堪磨折几多宵。芙蓉吹断秋风狠，新诔空成何处招！

4. Born into a golden chamber, her temperament is naturally proud, how can she endure so many nights of suffering. The lotus petals are blown away by the fierce autumn wind, and the new epitaph is in vain, where can it be posted?

5. 第十首，写元夕宝玉回房，于外间闻鸳鸯、袭人谈心，不忍入内打搅事。（第五十四回）“挐”原作“絮”。

5. The tenth poem describes Jia Baoyu returning to his room on the Lantern Festival night, and overhearing Yuanyang and Xiren talking heart to heart outside, he is unwilling to enter and disturb them. (Fifth Chapter 54) "Ná" was originally written as "xù".

6. 莫问金姻与玉缘，聚如春梦散如烟；石归山下无灵气，总使能言亦枉然。

6. Do not inquire about gold marriage and jade connection, gathering like a spring dream and dissipating like smoke; the stone returns to the mountainside without any spiritual essence, and even if it can speak, it is all in vain.

7. 馔玉炊金未几春，王孙瘦损骨嶙峋。青蛾红粉归何处？惭愧当年石季伦！

7. The delicacies of jade and gold have not long passed the spring, the young master has withered, his bones stick out. Where do the youthful faces and fair skins go? Ashamed I am of my past as Shi Jilun!

8. 于是曹公开篇设置了“甄士隐”“贾雨村”贯通全文，紧扣“梦”“幻”二字，正是如此章法。脂砚斋曾批“真不去，贾焉来”，是为甄士隐出家，引出贾府，后文贾府败落，也许正是“贾不去，真焉来”，诸芳流散之时，正是甄士隐奉警幻之命，度众人复归太虚幻境之时。这便是后话了。

8. Therefore, Cao began the story by introducing "Zhen Shiyin" and "Jia Yucun," connecting the entire text, closely adhering to the words "dream" and "illusion," which is exactly this style. Lipan Zhai once commented, "If the real person does not leave, where can Jia come from?" This refers to Zhen Shiyin's renunciation of the world, leading to the introduction of the Jia family. Later on, when the Jia family declines, perhaps it is "If Jia does not leave, where can the real person come from?" At the time when the flowers scatter, it is when Zhen Shiyin, under the command of the Warning幻, leads everyone back to the Illusionary Realm of Taihu. This is a story for later.

9. 第四首，暗出薛宝钗，写扑蝶。（第二十七回）“两”原作“雨”。

9. The fourth poem subtly introduces Xue Baoyu, depicting the scene of catching butterflies. (Chapter 27) "Two" was originally written as "rain."

10. 这样，祜昌才彻底弄明白了我的原意（因为我过去未说清，也由于我误写成“识分定”）。他表示同意，说果然，这首诗不像是写黛玉了。

10. In this way, Huchang finally understood my original intention (because I had not expressed it clearly before, and also because I mistakenly wrote it as "identify division"). He expressed agreement, saying indeed, this poem does not seem to be about Daiyu.

11. 湘云，妙玉并列第三，这也是我个人的主观感受。若有人对以上内容有自己的有趣的见解，望探讨学习，不再赘述。

11. Xiang Yun and Miao Yu are ranked third side by side, which is also my personal subjective feeling. If anyone has their own interesting insights on the above content, I hope to discuss and learn from them, and will not elaborate further.

12. 禄蠹 du（第二声）蠹，是蛀虫的意思。有流水不腐户枢不蠹，意思是不会被蛀坏。又有蠹鱼损文字，意思是蠧鱼会蛀咬书。禄蠹，是指只一心*浸追求俸禄官位的人

12. Lu du (second tone) "du" means "beetle". The phrase "流水不腐，户枢不蠹" means that things will not rot or be infested with beetles if there is a constant flow of water or if the door hinges are regularly oiled. Another phrase is "蠹鱼损文字," which means that the蠹 fish will chew on books. "Lu du" refers to a person who is solely dedicated to pursuing salaries and official positions.

13. “班姑”：班昭，班固的妹妹，后来续写了班固《汉书》。好为人师，人称“曹大家”（夫姓曹。‘家’音‘姑’）。“蔡女”：蔡邕之女。名琰，字文姬，传制“胡笳十八拍”。陷于匈奴左贤王，后曹操将其迎回中原。她俩都是一代女文豪。

13. "Ban Gu": Ban Zhao, the sister of Ban Gu, who later continued the writing of Ban Gu's "History of the Han." She was fond of teaching and was known as "Cao Jiājiā" (the surname was Cao. 'Jiā' sounds like 'gu'). "Cai Nü": The daughter of Cai Yong. Named Yan, styled Wenji, she is famous for the traditional piece "Eighteen Strums of the Huqin." She was captured by the Xianbei Left Marshal and later was brought back to the Central Plains by Cao Cao. Both of them were renowned female literary celebrities of their generation.

14. 曹子雪芹出所撰红楼梦一部，备记风月繁华之盛：盖其先人为江宁织府；其所谓大观园者，即今随园故址。惜其书未传，世鲜知者，——余见其抄本焉。

14. Cao Zixue, the author of Hong Lou Meng, meticulously recorded the prosperity of its time in the novel: his ancestors were officials in the Jiangning Weifu (Textile Bureau); the so-called Dazhongyuan (Grand View Garden) referred to in the book is the site of the current Su Yuan. Unfortunately, his book has not been passed down, and few people in the world are aware of it——I have seen the manuscript of it.

15. 都云作者痴，谁解其中味。

15. They all say the author is a fool, who can understand the taste of it?

16. 第十七首，或揣为宝、黛幼时同室，只隔“碧纱厨”事。疑实指“绣鸳鸯梦兆绛芸轩”事。

16. The seventeenth poem, or it can be inferred that it refers to Bao and Dai's childhood cohabitation, separated only by the "green silk kitchen." It is suspected to actually refer to the incident in "Embroidered Mandarin Duck Dream Omens in the Jiaoyun Pavilion."

17. 贾宝玉在书中并非实实在在的人，而是女娲补天之后遗留下来的一块顽石，是神瑛侍者与那赖僧丑道口中的“蠢物”，所以其种种异于常人的行为举止就理所应当了。若是有心人看到此便会问，既然贾宝玉不是人是块石头，那他怎么就能幻化成面如温玉，唇降朱红的美男子形象，不急，往下读。

17. Jia Baoyu is not an actual person in the book but rather a leftover piece of顽石 from the time when Nuwa patched the sky. He is the "stupid creature" mentioned by the Immortal Ying Shi and the ugly Taoist monk. Therefore, his various unusual behaviors and actions are quite understandable. If anyone with a discerning mind sees this and asks, "Since Jia Baoyu is neither a person nor a stone, how can he transform into a handsome man with a face like warm jade and lips as red as cinnabar?" Do not worry, keep reading.

18. 由来同一梦，休笑世人痴。

18. Originated from the same dream, do not laugh at the foolishness of people.

19. “一把辛酸泪”， “把”是量词，用来形容可以一手抓住的东西，作者用“一把”来修饰“辛酸泪”，暗示了“辛酸泪”多。表明他对《红楼梦》最大的感受是悲伤，也反映了他成书的艰辛，暗示了小说是一部悲剧。

19. "A handful of bitter tears," where "a handful" is a measure word used to describe something that can be held in one hand. The author uses "a handful" to modify "bitter tears," suggesting that there are many of them. This indicates that his greatest feeling towards "Dream of the Red Chamber" is sadness, also reflecting the arduousness of his composition, and implies that the novel is a tragedy.

20. 入户愁惊座上人，悄来阶下漫逡巡；分明窗纸两珰影，笑语纷挐听不真。

20. The entry alarms the person seated,悄悄 comes down the steps to wander aimlessly; Clearly, the two shadows on the window paper, the laughter is scattered and not clear to hear.

21. 侍儿枉自费疑猜，泪未全收笑又开；三尺玉罗为手帕，无端掷去又抛来。

21. The maid vainly doubts and guesses, her tears not yet dried and laughter breaks out again; a three-foot jade gauze becomes a handkerchief, carelessly thrown away and then flung back.

22. 第五首，写宝玉遭贾政笞打后，遣晴雯送手帕于黛玉事。（第三十四回）

22. The fifth episode describes the incident where Baoyu sends Xingwen to deliver a handkerchief to Daiyu after he is whipped by Jia Zheng. (Third Chapter Thirty-Four)

23. 从诗词方面我说了曹公笔下两女主，接下来我便借一些印象较深的情景说说曹公笔下其他一些人物吧。

23. Regarding poetry, I have mentioned two female characters under Cao Gong's pen. Next, I would like to use some deeply impressed scenes to talk about other characters depicted by Cao Gong.

24. 第九首，写袭人被宝玉换系“茜香罗”汗巾事。（第二十八回）

24. The ninth poem describes the incident where Bao Yu replaces Xiren's "Sai Xiang Luo" handkerchief. (The Twenty-Eighth Chapter)

25. 伤心一首葬花词，似谶成真自不知。安得返魂香一缕，起卿沈痼续红丝？

25. A heart-rending epitaph for the buried flowers, it seems like a prophecy that has come true, yet I'm unaware of it. How I wish for a strand of resurrection incense, to revive your deep-rooted illness and continue the red silk thread of our fate?

26. 潇湘别院晚沉沉，闻道多情复病心；悄向花阴寻侍女，问他曾否泪沾襟。

26. The Xiao-Xiang mansion is deep in the evening gloom, hearing that the loving one's heart is once again troubled by illness; quietly seeking the maid in the shade of the flowers, I ask if she has ever shed tears on her sleeves.

27. “红粉佳人”一词，不是写幼女少女所用。（祜昌马上同意，并举出不少诗词、戏词中的例子，说明这个词语只指“闺中**”。）

27. The term "红粉佳人" is not used to refer to young girls or teenagers. (Hu Chang immediately agreed and cited many examples from poems and operatic lyrics to demonstrate that the term refers only to "ladies in seclusion" or "ladies within the courtyard").

28. 从高峰到低谷的人生境遇，从优渥生活到一贫如洗，自己有才华，却没有施展的机会；自己有本事，却得不到别人的欣赏和任用。所有的感情，所有的才能，所有的追求，只能用一支毛笔，写进红楼梦这个荡气回肠的故事之中。

28. From the peak to the valley of life, from a life of luxury to abject poverty, having talent but no opportunity to showcase it; being capable but not receiving appreciation or employment from others. All emotions, all talents, and all pursuits can only be written into the touching and heart-wrenching story of "Dream of the Red Chamber" with a single brush pen.

29. 先谈红楼前八十回。红楼梦的首回标题是“甄士隐梦幻识通灵 贾雨村风尘怀闺秀”，开篇便是告诉所有人，我这篇故事通篇都是假话，所有的真事都会隐去，爱听不听。如此特立独行的开篇就是与众不同，那它的内容，是否也如标题如此惊世骇俗？答案是——是的！一般的小说都是直奔主题，围绕主题设计主线、支线，展开人物、故事、场景。但红楼梦显然没有按照这样的小说套路来写，它并没有直接写到四大家族，而是以江南一个隐居的乡宦甄士隐开了头，所以脂砚斋不止一次批红楼梦是不落古今小说之俗套。曹公为什么要如此新颖的开启《红楼梦》的首回呢？其实简单的说，便是为了将真事隐去，掩人耳目。前文已提，甄士隐，即真事隐之意，但数十年的心血不能隐啊，于是便要借贾雨村所言保存流传下去。也正如太虚幻境那幅对联“假作真时真亦假，无为有处有还无”，也让我想到《金刚经》所传：一切有为法，如梦幻泡影，如露亦如电，应作如是观。

29. Let's first talk about the first eighty chapters of "Dream of the Red Chamber." The title of the first chapter of "Dream of the Red Chamber" is "Zhen Shiyin's Dream Identifies the Spiritual Jade, Jia Yucun Carries the Dreams of a Damsel in the Dust." The opening tells everyone that this story is full of lies, and all the true events are hidden, whether you like it or not. Such a unique and unconventional opening is different from the usual, so is its content as shocking and unconventional as the title? The answer is—yes! Most novels directly approach the theme, designing the main and subplots around the theme, and developing characters, stories, and scenes. However, "Dream of the Red Chamber" clearly does not follow such a novel套路. It does not directly write about the four great families, but starts with Zhen Shiyin, a reclusive nobleman in the south of the Yangtze River. This is why Lipan Zhai more than once criticized "Dream of the Red Chamber" for not falling into the common traps of ancient and modern novels. Why did Cao Gong start the first chapter of "Dream of the Red Chamber" in such a novel and innovative way? Simply put, it was to hide the true events and deceive people. As mentioned earlier, Zhen Shiyin means "hiding the true events," but the decades of effort cannot be hidden. Therefore, it is necessary to rely on what Jia Yucun said to preserve and pass it on. Just as the couplet in the "Hall of Illusion" says, "When what is false is treated as true, what is true becomes false; when what is without is treated as having, what is having returns to having nothing," it also reminds me of the teachings of the "Diamond Sutra": All things that have form are like dreams, illusions, bubbles, shadows, dew, lightning; they should be viewed in this way.

30. 这“班姑蔡女”就出自小说第一回中空空道人的话：“……其中不过几个异样男女子，或情或痴，或小才微善，亦无班姑蔡女之德能”。

30. This "Pan Gu Cai female" comes from the words of Kongsong Dao Ren in the first chapter of the novel: "...Among them are only a few abnormal men and women, some emotional, some痴, some with a little talent and virtue, but none with the virtues of Pan Gu Cai female."

31. 当然，首先便是贾宝玉了。西游中有一真假猴王，红楼中亦有一甄贾宝玉，哈哈哈哈，好玩好玩。书中言甄家媳妇来贾家请安，便向贾母谈及家中魔王，甄姓宝玉！同样的肤白唇红，同样的淘气难管，同样的喜女恶男，读及此，便知此处定内有乾坤，忽想到首章所描述的神瑛侍者与那僧那道口中的一口一个的“蠢物”。恍惚间能读出几分浅显的隐喻：甄、贾宝玉的写法，是虚实互藏、双向传影了。终于由此理解到贾宝玉乃补天所剩顽石所化故为假，其所含宝玉就是被那个一僧一道变幻成扇坠大小的顽石，即其实贾宝玉是顽石的化身。他本身并没有形貌，只是看到神瑛侍者的样貌就幻化了同样的样子，所以贾宝玉和甄宝玉才会一模一样。灌溉绛珠仙草的是神瑛侍者，她要报恩的也是神瑛侍者，他们两个和其他薄命司的女孩儿才是真真下凡渡劫的。顽石只不过是企慕红尘中的热闹，央求一僧一道带他下去游历，被夹带其中而已。故而可以说黛玉和宝玉一开始就有缘而无份，黛玉还泪还错了对象。

31. Of course, the first is Jia Baoyu. In the Journey to the West, there is a real and a fake Monkey King; in the Dream of the Red Chamber, there is also a "Zhēn Jia Baoyu." Hahaha, fun, fun. The book says that when the wife of the Zhēn family came to the Jia family to pay respects, she talked to Jia Mu about the evil spirit at home, "Zhēn" Baoyu! With the same fair skin and red lips, the same mischievous and hard to control, and the same preference for girls and dislike for boys, upon reading this, one knows that there must be something profound within, suddenly thinking of the description in the first chapter of the immortal attendant, the monk, and the Taoist, who would call him a "stupid thing" with each word. It seems to be able to read a few shallow metaphors: the style of writing of "Zhēn" and "Jia Baoyu" is a concealment of the real and the imaginary, a double reflection. Finally, it was understood that Jia Baoyu was a false person, a transformation from the remaining stone that was used to patch the sky. The jade within it was the stone that the monk and the Taoist transformed into a fan坠-sized stone, so in fact, Jia Baoyu was the embodiment of the stone. He himself did not have a physical appearance, but he transformed into the same form after seeing the appearance of the immortal attendant. That's why Jia Baoyu and Zhēn Baoyu are so identical. The immortal attendant is the one who waters the Jie Zhu xiancao, and the one who needs to repay the favor is also the immortal attendant; they and the other girls in the "Baoxue" are truly the ones who descend to the mortal world to experience suffering. The stone is just yearning for the hustle and bustle of the mortal world, pleading with the monk and the Taoist to take him down for a tour, and he was just brought along. Therefore, it can be said that Lin Daiyu and Jia Baoyu had a destined connection but no fate at first, and Lin Daiyu shed her tears to the wrong person.

32. 莫问金姻与玉缘，聚如春梦散如烟。石归山下无灵气，纵使能言也枉然。

32. Do not inquire about gold marriage or jade affinity, gathering like a spring dream and dispersing like smoke. The stone returns to the mountain's foot, devoid of any spiritual energy; even if it could speak, it would be in vain.

33. 还有便是尤三姐，尤三姐之死，我只能说是出身于宁国府这等*贱之地的悲哀，是柳之过，尤之错！不管尤二姐尤三姐是否真是那种品行不端，放荡不堪，*奔不才，丧伦败行之人，若以“黛玉葬花”来做比，大家都说黛玉葬花是悲文惨意，阅之掩面泣血不能自已。可我在读到尤三姐吞金自杀的情节描写之时，我确实感觉到心悸阵痛，久难释怀。

33. Another is Yu Sanjie. The death of Yu Sanjie can only be described as the sorrow of coming from such a despicable place as Ningguo Mansion, it is Liu's fault and Yu's mistake! Whether Yu Erjie or Yu Sanjie were truly those with unworthy character, licentious, unworthy, and败伦败行 people, if compared to "Daiyu Buries the Flowers," everyone says that Daiyu Buries the Flowers is a tragic piece, full of sorrow, and it is difficult to contain one's tears upon reading it. However, when I read the description of Yu Sanjie swallowing gold and committing suicide, I indeed felt a heart-stopping pain that was hard to shake off.