Interculturality in HLM

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Commonness between the Red Chamber Dreams

and other World Literature Novels –

Proposing the Red Chamber Dreams to the World Documentary Heritage List

Martin Woesler, Hunan Normal University

Abstract

In every culture, readers associate the literature they know with new literature they read. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Also within Chinese literature, authors come out of a tradition of literature they have read, the literature they write is cumulative, it refers back to it.

The Red Chamber Dreams already display in their contents interculturality, both, the mixture of Manchu and Han culture as well as the impact of foreign culture in late Qing China. Like the time claimed by the novel to be timeless, the culture displayed in the novel is not genuinely Manchu or Han Chinese, but Cao Xueqin draws a picture of a Chinese culture, which has successfully integrated Manchu and Han culture and elements of foreign culture into Qing Chinese culture. Cao Xueqin also often plays with the cultural elements of both Manchu and Han by mixing them, which can be deciphered easily for the readers of his time.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. The Red Chamber Dreams function worldwide. The Dream is a complex showroom of diverse aspects of Chinese cultures, even in its integration of foreign cultural elements, and it is the embodiment and essence of Chinese cultures. It also has a global impact, therefore it should be honoured as “World Documentary Heritage”.

Key words

Cumulative literature, Han culture, Manchu culture, foreign culture, integration, reception tradition, German translation, embodiment of Chinese cultures, global compatibility, World Documentary Heritage

摘要

在每一种文化中，读者都会把他们熟悉的文学作品与他们所读的新文学作品联系起来。当西方读者阅读《红楼梦》时，他们首先将自己文化传统中的小说和其他文学作品与《红楼梦》联系起来。这也影响了第一次德文全译。

同样在中国文学中，作者从他们阅读过的文学传统中走出来，他们所写的文学作品是累积性的，它指的是中国文学。

红楼梦》在内容上已经显示出跨文化性，既是，满汉文化的混合，也是晚清中国的外来文化的影响。就像小说所宣称的永恒的时代一样，小说中所展示的文化并不是真正的满族或汉族文化，而是曹雪芹所描绘的中国文化，它成功地将满族和汉族文化以及外国文化的元素融入了清代中国文化。曹雪芹还经常通过混合满族和汉族的文化元素来玩弄它们，这对当时的读者来说很容易解读。

曹雪芹乃至他的主人公贾宝玉都是早期的人文主义者、世界主义者和世界公民。红楼梦》的功能是世界性的。梦》是一个复杂的陈列室，包含了中国文化的不同方面，甚至融合了外国文化元素，它是中国文化的体现和精华。它还具有全球性的影响，因此它应该被评为 "世界文献遗产"。

Please correct this Chinese section

关键词

累积文学，汉族文化，满族文化，外国文化，融合，接受传统，德文翻译，中国文化的体现，全球兼容，世界文献遗产

1. Chinese Ethics

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged (Wu 1973:3), and that he made kites for children (Wu 1973:13, 19, 22).

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

Red Chamber Dreams also contains rich Taoist and Buddhist connotations that are characteristic of the traditional Chinese culture. The love of life and the praise of youth and love expressed in the novel make it far surpassing the category of Chinese culture, reaching general human ethics. Liang Qichao said in his Drink Ice Room Collection that "when you want a hero's story, refer to the Water Margin, and when it comes to love, refer to the Red Chamber Dreams". During the 20th century's May Fourth Movement, Chinese scholars have emphasized strongly such commonalities of literary works. (Liang 1936:34)

Another great ethical contribution of the novel is its explorations on the meaning of life. Wang Guowei has pointed out in his Comments on Red Chamber Dreams that the weakness of Chinese literature lies in the fact that it puts too much emphasis on the educational and instrumental functions, neglecting the independence of literature as an art form. He noted that Red Chamber Dreams has gone beyond this limitation and questions the meaning of life, which should be the primary aim of literature. He pointed out that the novel explores the relation between desire and extrication of life. The pain of life comes from endless human desire, and the way to escape pain is to overcome desires. This attitude towards life is close to that of Goethe's, expressed in his masterpiece Faust. (Wang 1997:72)

"Cao Xueqin helps the poor disabled common people out of pity by teaching them handcraft skills to support themselves and overcome starving. Such a contribution is indeed of immeasurable significance!" (Dong 1740?:Preface; cf. Wu 1973:5)

However, the reason why he wrote the book "South Crane, North Ying, and North Ying" was to help Yu Shudou 于叔度, the son of Runzi 润子, and to extend it to other people who had "no complaints about their illnesses". He also wrote books on weaving and other craftsmanships to prevent the blind from having to learn tricks to cheat on people, like fortune-telling and prophecies. These behaviours and the meaning behind it is important for the change of research on Cao Xueqin's thinking.（Wu 1973:5）

但他之所以写《南鹤北莺考工志》则是由帮助润子于叔度而扩大到其他“ 废疾无告” 的人们。他写编织、脱胎等工艺的书， 也是为了盲人谋一生路免得使他们学那些算命、占卦之类骗人的把戏，这些行为及其意义， 对研究曹雪芹思想的变化， 是很重要的。董邦达在这本书的序言中就指出：“曹子雪芹悯废疾无告之穷民，不忍坐视转乎沟壑之中，谋之以技艺自养之道；厥功之伟，易可计量也哉！”

2. Compatibility

Why do the Red Chamber Dreams function worldwide and have achieved world literature status even in their translations?

First of all, the Red Chamber Dreams are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel. However, the lose arrangement of episodes of the Dreams comes from the tradition of almost unconnected episodes like in the Water Margin and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the Dreams show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

Thanks to reports from merchants and missionaries, in 17th century Europe, poetry and plays appeared, which already described China. In the 18th century, there was the Chinoiserie (中国风) in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, aroused great interest in Europe. During this period, Chinese low brow novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to Europe.（cf. Hu 1990:96）However, Hao Qiu Zhuan was doubted to be Chinese and when the first excerpts of the Honglou meng appeared in France and Great Britain in 1819, the first reviews were not affirmative, the novel was considered language learning material and of low literary value.

Comparison to Western novels in the 19th century

After almost 80 years of ethonocentric and discriminative reception of the novel in the West, after more and more excerpt translations were available, finally in 1867 Mayers compared the novel to Western novels and especially the romantic novels of Thackeray and Bulwer, he also praised the “complex variety of shades” of human character. (Mayers 1867:167-168; Woesler 2010:93): "If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]"

Comparison to Western novels in the 20th century

In 1934, also Chinese critics start to compare the Red Chamber Dreams to Western novels, Li Chendong stated in a preface to the novel#: "We believe that the difference between Eastern and Western civilizations lies only in type, not in degree of development. In the field of literature, Italy has Dante's Divine Comedy, Britain has Shakespeare's plays, Spain has Cervantes' Don Quixote, Germany has Goethe's Faust, France has Balzac's Human Comedy, and Russia has Tolstoy's War and Peace." He ends with the rhethorical question: "What masterpieces in China can stand alongside these European masterpieces?" (Li 1934:6-7) He meant the Red Chamber Dreams and claimed to adopt the method of "Etude Comparative Studies", to compare the novel with European masterpieces (Li 1934:7). He evaluated the novel from the viewpoint of Western critics studying Western masterpieces.

In the 1930s, Xu Songnian, Wu Yitai, Li Chendong, Guo Linge, Lu Yuehua and other Chinese students studying in France translated and studied the Red Chamber Dreams, which promoted its translation and dissemination in France. They often cited western literary theories to explain and analyze the novel, compared it with European literary masterpieces, promoted academic exchanges between China and the West, and made important contributions to establishing the status of Cao Xueqin and the Red Chamber Dreams part of world literature. (Zhang 2020:262)

Comparison to Western novels in the 21st century

According to Lu 2015, Cao Xueqin resembles 19th-century French novelists in many ways, for example: "Cao Xueqin places his characters in the class and environment to which they belong. Therefore, the Jia family pedigree introduced at the beginning of the novel is similar to some of Balzac's novels. He painted his characters' servants, homes, furniture, clothes, etc. The details of the boudoir and feasts of young girls are detailed, which is similar to Balzac, Flaubert, Maupassant, Zola and so on (Lu 2015:89-90). Human fiction is similar. It can be seen that Cao Xueqin and these French writers create what Western critics call 'atmosphere'. (Lu 2015:90)

Lu believes, that Cao Xueqin and Marcel Proust have a lot in common. For example, "They both depict the character of girls. Recalling the young girls they had known or loved."（Lu 2015:91). Both "portray not only the images of young women, but the whole society in which they live and reflect". Proust was writing about the aristocracy and top bourgeoisie in 19th-century France. The class depicted is almost the same." (Lu 2015:92) "Cao Xueqin's women are as reserved and pure as violets, while Prousts' are women like Albertine, though equally innocent, were more active, had more expectations and aspirations for life and show their enthusiasm." (Lu 2015:92)

"Proust's works are a connaissance esthetique de l'individu. It was a man who was known for the fascination created with fleeting feelings and impressions, and who rarely expresses characters through dialogues. Cao Xueqin's Red Chamber Dreams are one Connaissance Systematique, it also has many characters and plots, and its characters "clearly express themselves through their own words." (Lu 2015:92-93)

Sun Fengming compares Melanie from Gone with the Wind with Xue Baochai. (Sun 2015:36-37)

Adaptions in the West

The novel has been adapted abroad in several forms. In 2015, the Folkwang Dance Ensemble adapted it as a dance. Controversally discussed was Zhang # opera performed in New York 2017#.

3. Impact of translator’s native culture on the translation process

There are intercultural parallels between the Red Chamber Dreams and Western works of literature. These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the Dreams will immediately think of.

4. The novel as embodiment of “Zeitgeist”

According to Georg Lukács’ Theory of the Novel, while the Epos (like Homer’s Ilias, which like the Dream reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality. The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. Since Lukacs, we understand a novel in historical-philosophical way, it is typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The Red Chamber Dreams are written in front of the background of the Manchu ethnicity having taken over the power in formerly Han-shaped Ming-China and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng. While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov and of Thomas Mann, e.g. in the Buddenbrooks, where the younger generation turns to arts and music. Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

5. Coming-of-age and Alienation

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment. However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life.

Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children, encouraging handicapped people to learn a decent craftsmanship and engaging for the poor. (Dong Bangda 1740?)###

Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel Candide or Optimism《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings (###) show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.

Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” (Bildungsroman) or “Coming-of-age-novel” (Entwicklungsroman). In Germany, the genre of the coming-of-age novel has a long tradition and is shaped more by single characters, who appear as teachers (Goethe: Wilhelm Meister’s Apprenticeship 威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: Heinrich von Ofterdingen《海因利·封·歐福特丁根》1802). Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in Wilhelm Meister this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation. This is a wisdom we can learn from all mentioned novels including the Dreams.

6. Mental and physical love, female rivals

Mental and physical love are basic human needs, they have developed into different shapes in all cultures. The Western audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit. In the barock literature of the 17th century even the physical act is described extensively.

According to the principle of „cumulativity“, every human being is a product of history and all literature is based on previous literature, therefore the author of this paper thinks that this background has to be taken into account while translating.

The best study on passion (情) in the Dreams is the one by Anthony Yu, who understood it as desire and as the central motif of the Dreams. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Yu 2001:54).

In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam. In chapter 1 Cao says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality. The Dreams narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw the eternal feminine, which draws us on high, as the central topic of both, the Dream and Faust, Gu Cheng called it the “eternal virgine”. In Goethe’s coming-of-age novel Wilhelm Meisters Wanderjahre, we find a similar motif of female rivals, in Keller 凯勒 The Green Henry《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s Pride and Prejudice 1813 Elizabeth is similar to Lin Daiyu, e.g. they both strive for real love (Zhuang 2011:page).

When in the 18th century in both, China and Europe economic circumstances allowed to not just rely on economic grounds for marriage, but also on love, conflicts between the individual and family or society around arranged marriages became a common topic of interest in novels.

Wang Cong (2018:36) sees free love as a common topic in the Dreams and Romeo and Juliet.

7. Feudal society and slavery

Jia Baoyu has certain traits of anti-authorian traits. He treats family members and servants both respectfully and seems to be interested in the individual people themselves. This is a very progressive mindset for a member of the aristocracy.

In the People's Republic of China, the interpretation that Jia Baoyu’s equal treatment of family members and "slaves" would be a manifesto to free the less priviledged, is the common interpretation. Also Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the Dream and Goethe’s Sorrows of the Young Werther, that both expressed the wish to abandon feudal society.

Aristotle, when he demanded democracy, excluded slaves from the right to vote. So I think we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate the expression "yatou" with "slave". Therefore, the translator preferred “servant” over “slave” in the translation.

Neither in the Dreams nor in the Sorrows of the Young Werther I find fundamental criticism of the feudal system itself.

8. Tragedy of all tragedies

Aristotle explained in On the Tragedy (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971:51). This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work On the Comedy. While Europe has Shakespeare's Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented.

Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”. It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The Dream at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

Since also the Dream is discussing questions of human fate and divine determinism of human fate, one can explore whether Cao Xueqin strives for a higher level truth or wisdom. While in the ancient greek myth Prometheus steals the fire from the gods and the German philosopher Nietzsche declared god dead, we do not have such a radical emancipation of the human self in Chinese philosophical tradition. Although there are reported several travels to the heaven by Duke Mu and King Xiaocheng of Zhao and finally by Qu Yuan, all of them remain unsuccessful. (Tseng 2020:167) When Jia Baoyu in the final chapter ascends to heaven, it is a travel of no return. Also the main picture created with the frame story by Cao Xueqin is not human hybris, but the human world as playground of heaven and divine creatures, and the final consequence is both for Qu Yuan and Cao Xueqin that all earthly efforts finally are in vain, symbolized by Cao Xueqin with the "red dust".

9. “Non-Binary” Novels

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. He is described as handsome and well dressed, he grows up in a paradise-like garden among girls and some boys. He is interested in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

We learn about Jia Baoyu's first love and first sexual experiences. For a non-pornographic novel it is surprising how open the author writes about Jia Baoyu's bisexual orientation.

Examples

With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary. According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the Heart Sutra. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

In chapter 66, Baoyu gets a visit from Liu Xianglian 柳湘莲: "次日又来见宝玉，二人相会，如鱼得水。… Next day Xiang-lian went to see Bao-yu. The two of them were always wonderfully at ease in each other’s company...".

In chapter 28, the young actor Jiang Yuhan 蒋玉菡 is described as posessing winsome looks. He eases his bladder together with Baoyu, Baoyu took his hand and gave it a squeeze. They exchange sashes (互换汗巾子) as a sign of friendship.

Footnote: A crimson cummerbund becomes a pledge of friendship And a chaplet of medicine-beads becomes a source of embarrassment 少刻，宝玉出席解手，蒋玉菡便随了出来．二人站在廊檐下，蒋玉菡又陪不是．宝玉见他妩媚温柔，心中十分留恋，便紧紧的搭着他的手，叫他：“闲了往我们那里去．还有一句话借问，也是你们贵班中，有一个叫琪官的，他在那里？如今名驰天下，我独无缘一见。”蒋玉菡笑道：“就是我的小名儿。”宝玉听说，不觉欣然跌足笑道：“有幸，有幸！果然名不虚传．今儿初会，便怎么样呢？"想了一想，向袖中取出扇子，将一个玉ぉ扇坠解下来，递与琪官，道：“微物不堪，略表今日之谊。”琪官接了，笑道：“无功受禄，何以克当！也罢，我这里得了一件奇物，今日早起方系上，还是簇新的，聊可表我一点亲热之意。”说毕撩衣，将系小衣儿一条大红汗巾子解了下来，递与宝玉，道：“这汗巾子是茜香国女国王所贡之物，夏天系着，肌肤生香，不生汗渍，昨日北静王给我的，今日才上身．若是别人，我断不肯相赠．二爷请把自己系的解下来，给我系着。”宝玉听说，喜不自禁，连忙接了，将自己一条松花汗巾解了下来，递与琪官。… Shortly after this Bao-yu had to take temporary leave of the company to ease his bladder and Jiang Yu-han followed him outside. As the two of them stood side by side under the eaves, Jiang Yu-han once more offered Bao-yu his apologies. Much taken with the actor’s winsome looks and gentleness of manner, Bao-yu impulsively took his hand and gave it a squeeze. ‘Do come round to our place some time when you are free,’ he said. ‘There’s something I want to ask you about. You have an actor in your company called “Bijou” whom everyone is talking about lately. I should so much like to meet him, but so far I haven’t had an opportunity.’ ‘That’s me!’ said Jiang Yu-han. ‘“Bijou” is my stage name.’ Bao-yu stamped with delight. ‘But this is wonderful! I must say, you fully deserve your reputation. Oh dear! What am I going to do about a First Meeting present?’ He thought for a bit, then took a fan from his sleeve and broke off its jade pendant. ‘Here you are,’ he said, handing it to Bijou. ‘It’s not much of a present, I’m afraid, but it will do to remind you of our meeting.’ Bijou smiled and accepted it ceremoniously: ‘I have done nothing to deserve this favour. It is too great an honour. Well, thank you. There’s rather an unusual thing I’m wearing I put it on today for the first time, so it’s still fairly new: I wonder if you will allow me to give it to you as a token of my warm feelings towards you?’ He opened up his gown, undid the crimson cummerbund with which his trousers were fastened, and handed it to Bao-yu. ‘It comes from the tribute sent by the Queen of the Madder Islands. It’s for wearing in summer. It makes you smell nice and it doesn’t show perspiration stains. I was given it yesterday by the Prince of Beijing, and today is the first time it s ever been worn. I wouldn’t give a thing like this to anyone else, but I’d like you to have it. Will you take your own sash off, please, so that I can put it on instead?’ Bao-yu received the crimson cummerbund with delight and quickly took off his own viridian-coloured sash to give to Bijou in exchange.

In chapter 9, Baoyu's schoolmate Qin Zhong 秦钟, who is described as shy, becomes his close friend: "From now on the two friends were inseparable arriving at school and leaving school together and sitting beside each other in class." Baoyu suggests him: "You and I are schoolmates and pretty much the same age. Let us in future forget all this “uncle” “nephew” business and address each other exactly like friends or brothers!" The two are described as follows: "The two new boys, Qin Zhong and Bao-yu, were both as beautiful as flowers; the other scholars observed how shrinking and gentle Qin Zhong was, blushing almost before you spoke to him and timid and bashful as a girl; [...] they observed [Baoyu's] affectionate disposition and familiar manner of speech; and they could see that the two friends were devoted to each other. Perhaps it is not to be wondered at that these observations should have given rise to certain suspicions in the minds of those ill-bred persons, and that both in school and out of it all kinds of ugly rumours should have circulated behind their backs.

Footnote: The full text reads: 第九回 恋风流情友入家塾　起嫌疑顽童闹学堂

Chapter 9 A son is admonished and Li Gui receives an alarming warning A pupil is abused and Tealeaf throws the classroom in an uproar

原来这贾家之义学，离此也不甚远，不过一里之遥，原系始祖所立，恐族中子弟有贫穷不能请师者，即入此中肄业。凡族中有官爵之人，皆供给银两，按俸之多寡帮助，为学中之费。特 共举年高有德之人为塾掌，专为训课子弟。如今宝秦二人来了，一一的都互相拜见过，读起书来。自此以后，他二人同来同往，同坐同起，愈加亲密。又兼贾母爱惜，也时常的留下秦钟，住上三天五日，与自己的重孙一般疼爱。因见秦钟不甚宽裕，更又助他些衣履等物。不上一月之工，秦钟在荣府便熟了。宝玉终是不安本分之人，竟一味的随心所欲，因此又发了癖性，又特向秦钟悄说道：“咱们俩个人一样的年纪，况又是同窗，以后不必论叔侄，只论弟兄朋友就是了。”先是秦钟不肯，当不得宝玉不依，只叫他“兄弟”，或叫他的表字“鲸卿”，秦钟也只得混着乱叫起来。

原来这学中虽都是本族人丁与些亲戚的子弟，俗语说的好：“一龙生九种，种种各别。”未免人多了，就有龙蛇混杂，下流人物在内。自宝，秦二人来了，都生的花朵儿一般的模样，又见秦钟腼腆温柔，未语面先红，怯怯羞羞，有女儿之风，宝玉又是天生成惯能作小服低，赔身下气，情性体贴，话语绵缠，因此二人更加亲厚，也怨不得那起同窗人起了疑，背地里你言我语，诟谇谣诼，布满书房内外。

The Jia clan school was situated at no great distance from Rong-guo House. It was a charitable foundation which had been established many years previously by the founder of the family and was designed for the sons and younger brothers of those members of the clan who could not afford to pay for private tuition. All members of the clan holding official posts were expected to contribute towards its expenses and members of advanced years and known integrity were chosen to be its masters. As soon as Bao-yu and Qin Zhong arrived they were introduced to the other students and then set to work at once on their lessons.

From now on the two friends were inseparable arriving at school and leaving school together and sitting beside each other in class. Grandmother Jia herself became very fond of Qin Zhong. She was always having him to stay for three or four nights at a time and treated him exactly as if he were one of her own great-grandchildren. And because she realized that his family was not very well off, she frequently helped Out with clothes and the like. Within a month or two he was a familiar and accepted member of the Rong household.

Bao-yu had always been impatient of social conventions, preferring to let sentiment rather than convention dictate the terms of his relationships. It was this which now prompted him to make Qin Zhong the following proposal:

‘You and I are schoolmates and pretty much the same age. Let us in future forget all this “uncle” “nephew” business and address each other exactly like friends or brothers!’

Qin Zhong was at first too timid to comply; but as Bao-yu persisted and went on calling him ‘brother’ or ‘Jing-qing’ (which was his school-name) whenever he spoke to him, Qin Zhong himself gradually fell into the habit of addressing Bao-yu as an equal.

All the pupils at the clan school were either members of the Jia clan or relations by marriage; but as the proverb rightly says, ‘there are nine kinds of dragon and no two kinds are alike’. Where many are gathered together the wheat is sure to contain a certain amount of chaff; and this school was no exception in numbering some very ill-bred persons among its pupils.

The two new boys, Qin Zhong and Bao-yu, were both as beautiful as flowers; the other scholars observed how shrinking and gentle Qin Zhong was, blushing almost before you spoke to him and timid and bashful as a girl; they saw in Bao-yu one whom nature and habit had made humble and accommodating in spite of his social position, always willing to defer to others in the interest of harmony; they observed his affectionate disposition and familiar manner of speech; and they could see that the two friends were devoted to each other. Perhaps it is not to be wondered at that these observations should have given rise to certain suspicions in the minds of those ill-bred persons, and that both in school and out of it all kinds of ugly rumours should have circulated behind their backs.

In chapter 15, Jia Baoyu interrupts the sexual intercourse of Qin Zhong 秦钟 and Sapientia 智能 by liying on them in the bed and holding them strongly. While Sapientia escapes, Baoyu spends the night with Qin Zhong and even arranges to stay for another night.

Footnote: The full text reads: 第十五回 王凤姐弄权铁槛寺 秦鲸卿得趣馒头庵

CHAPTER 15 At Water-moon Priory Xi-feng finds how much profit may procured by the abuse of power And Qin Zhong discovers the pleasures that are to be had under the cover of darkness

谁想秦钟趁黑无人，来寻智能。刚至后面房中，只见智能独在房中洗茶碗。秦钟跑来便搂着亲嘴。智能急的跺脚，说着：“这算什么!再这么，我就叫唤。”秦钟求道：“好人，我已急死了!你今儿再不依，我就死在这里。”智能道：“你想怎样，除非等我出了这牢坑，离了这些人，才依你。”秦钟道：“这也容易，只是远水救不得近渴。”说着，一口吹了灯，满屋漆黑，将智能抱到炕上，就云雨起来。那智能百般的挣扎不起，又不好叫的，少不得依他了。正在得趣，只见一人进来，将他二人按住，也不则声。二人不知是谁，吓的不敢动一动。只听那人嗤的一声掌不住笑了。二人听声，方知是宝玉。秦钟连忙起身，抱怨道：“这算什么!”宝玉笑道：“你倒不依。咱们就叫喊起来。”羞的智能趁黑地跑了。宝玉拉了秦钟出来道：“你可还和我强?”秦钟笑道：“好人，你只别嚷的众人知道，你要怎样，我都依你。”宝玉笑道：“这会子也不用说，等一会睡下，再细细的算帐。”一时，宽衣安歇的时节，凤姐在里间，秦钟宝玉在外间，满地下皆是家下婆子打铺坐更。凤姐因怕通灵玉失落，便等宝玉睡下，命人拿来塞在自己枕边。宝玉不知与秦钟算何帐目，未见真切，未曾记得。此系疑案，不敢纂创。

一宿无话，至次日一早，便有贾母王夫人打发了人来看宝玉，又命多穿两件衣服，无事宁可回去。宝玉那里肯回去，又有秦钟恋着智能，调唆宝玉求凤姐再住一天。凤姐想了一想：凡丧仪大事虽妥，还有一半点小事未曾安『插』，可以指此再住一日，岂不又在贾珍跟前送了满情;二则又可以完净虚那事;三则顺了宝玉的心，贾母听见岂不欢喜。因有此三益，便向宝玉道：“我事都完了，你要在这里逛，少不得越『性』辛苦一日罢了。明儿可是定要走的了。”宝玉听说，千姐姐万姐姐的央求：“只住一日，明儿必回去的。”于是又住了一夜。…

Meanwhile Qin Zhong had taken advantage of the darkness and the fact that there was no one much about to prosecute his designs on Sapientia. He found her on her own in one of the rooms at the back of the priory washing up tea-things. Throwing his arms around her from behind, he gave her a kiss. Sapientia stamped with vexation: ‘What are you doing? Stop it!’ She was about to call out, but Qin Zhong spoke entreatingly: ‘Darling Sappy! I want you so desperately! If you won’t let me, I’ll just lie down and die!’ ‘If you want me,’ said Sapientia, ‘you must first get me out of this hole and away from these people. Then you can do what you like.’ ‘That’s easy,’ said Qin Zhong. ‘But “distant water is no cure for a present thirst” ...’ And with that he blew out the light, plunging the room into inky darkness, and carried Sapientia on to the kang. She struggled hard to get up—though still not daring to call out; but soon, almost before she knew it, her breech-clout was off and the ship was in the harbour. Suddenly, in less time than it takes to tell, a third person bore down on them from above and held them fast. The intruder made no sound, and for some moments the other two lay underneath his weight, half dead with fright. Then there was a splutter of suppressed laughter and they knew that it was Bao-yu. ‘What do you think you’re playing at?’ said Qin Zhong crossly, as he scrambled to his feet. ‘If you won’t let me, darling,’ Bao-yu mimicked, ‘I’ll call Out!’ Poor Sapientia was so overcome with shame that she slipped away in the dark. Bao-yu hauled Qin Zhong from the room. ‘Now,’ he said: ‘are you still going to pretend that Sappy means nothing to you?’ ‘Look, be a good chap! I’ll do anything you say as long as you promise not to shout.’ ‘We won’t say any more about it just now,’ said Bao-yu genially. ‘Wait until we are both in bed and I’ll settle accounts with you then.’ Bedtime soon came and they partially undressed and settled down for the night, Xi-feng in an inner room and Bao-yu and Qin Zhong in an outer room adjoining it. As there were numerous old women on night duty lying about everywhere on the floor wrapped up in their bedding, Xi-feng was afraid that the ‘Magic Jade’ might disappear in the course of the night; so as soon as Bao-yu was in bed she sent someone to fetch it from him, and put it under her own pillow for safety. As for the ‘settling of accounts’ that Bao-yu had proposed to Qin Zhong, we have been unable to ascertain exactly what form this took; and as we would not for the world be guilty of a fabrication, we must allow the matter to remain a mystery. Next day someone arrived from Grandmother Jia and Lady Wang to see how Bao-yu was getting on. He was counselled to dress up well against the cold and to come back home if there was nothing further to do. Bao-yu was most unwilling to return on his own account, and his unwillingness was reinforced by the promptings of Qin Zhong, who was anxious to see more of Sapientia and urged him to ask Xi-feng for another day. Xi-feng reflected a little. The main business of the funeral was now over, but a sufficient number of minor matters still remained to be done to justify their staying on another day if they wanted to. Three arguments in favour of staying presented themselves to her mind: 1.It would be a gesture of considerateness to Cousin Zhen which would increase his indebtedness to her.

2.It would give her a breathing-space in which to get Euergesia’s business attended to.

3.It would make Bao-yu happy, which would put her in good odour with Grandmother Jia.

Having now made her mind up, Xi-feng acceded to Bao-yu’s request in the following terms: ‘My own business here is all finished now, but if you want to amuse yourselves a bit longer, I suppose I must resign myself to staying. However, we definitely must go back tomorrow.’ When Bao-yu heard this it was all ‘dearest Feng’ this and ‘darling Feng’ that, and he promised faithfully to return on the morrow without demur. Accordingly it was settled that they should stay for one more night.

Is this D. Hawke's translation?

10. The "Foreign" in the Red Chamber Dreams

Texts from foreign cultures are often bridging space and time and therefore also cultural distance. Wolfgang Proß suggests a "philological commentary" (Proß 1992:269) and Steinmetz an "intercultural interpretation" (Steinmetz 2003:466), which many translators combine into a preface and footnotes explaining cultural phenomena of the source culture to the target reader.

The novel applies "distance" as rhethoric means to create a fall height to reach a comic effect, e.g. when Liu Laolao as symbol for the backward peasant for the first time encounters a mirror as symbol for most advanced civilization, technology and luxury. Following this logic, the self-evidency and profeinity with which household members are accepting and integrating in their everyday-life even the most novel, exotic and alien foreign objects like watches and goods, shows the high grade of civilization reached in the Jia family.

Foreign Cultures

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties. These foreign objects were mostly coming from the huge trade ships from Europe, sometimes through the imperial court. They were collected by wealthy families as rare objects, expressions of human craftsmanship and they were displayed in the wealthy households as a sign of cosmopolitianism. Reasons for receiving foreign goods were that the Cao family engaged in silk weaving and also undertook private business investments, at least one time also with imperial funds and support. Another reason may be that the Cao family hosted the emperor four or five times during his inspection trips to the South and received gifts as signs of gratitude.

Foreigners

Baoqin reports in chapter 52 about her encounter at the age of 8 with a 15 year-old foreign girl.

我八岁的时节，跟我父亲到西海沿上买洋货。谁知有个真真国的女孩子，才十五岁，那脸面就和那西洋画上的美人一样，也披着黄头发，打着联垂，满头带着都是玛瑙、珊瑚、猫儿眼、祖母绿，身上穿着金丝织的锁子甲，洋锦袄袖，带着倭刀也是镶金嵌宝的。实在画儿上也没他那么好看。有人说他通中国的诗书，会讲‘五经’，能做诗填词。因此我父亲央烦了一位通官，烦他写了一张字，就写他做的诗。”众人都称道奇异。宝玉忙笑道：“好妹妹，你拿出来我们瞧瞧。”宝琴笑道：“在南京收着呢，此时那里去取？”宝玉听了，大失所望，便说：“没福得见这世面！”黛玉笑拉宝琴道：“你别哄我们：我知道你这一来，你的这些东西未必放在家里，自然都是要带上来的。这会子又扯谎，说没带来。他们虽信，我是不信的。”宝琴便红了脸，低头微笑不答。

‘When I was eight I went with my father on one of his trips to buy foreign merchandise to one of the Western sea-ports and while we were there we saw a girl from the country of Ebenash [the Netherlands]. She was just like the foreign girls you see in paintings: long, yellow hair done into plaits, and her head was smothered in jewels: carnelians, cat’s-eyes and emeralds. She was wearing a corslet of golden chain-mall and a dress of West Ocean brocade and she had a Japanese sword at her side covered all over with jewels and gold. Actually she was more beautiful than the foreign girls you see in paintings. They said that she had a perfect understanding of our literature and could expound the Five Classics and write poems in Chinese. My father asked her through an interpreter if she would write something for us in Chinese characters and she wrote out one of her own poems for him.’ The cousins were enthralled and Bao-yu eagerly begged her to show them the poem. ‘That’s not possible,’ said Bao-qin. ‘I left it behind in Nanking.’ Bao-yu was very disappointed. ‘Just my luck!’ he said. ‘And I was hoping to broaden my experience.’ ‘Don’t be a tease!’ said Dai-yu, giving Bao-qin a tug. ‘You didn’t leave anything behind in Nanking. Look at all the luggage you brought with you! I think you’re making it up. The others can believe you if they like, but I don’t.’ Bao-qin blushed and hung her head. She made no reply, but a little, secret smile was faintly discernible in her features.（Translated by David Hawkes. The country of "Ebendash" (真真国) according to the Honglou Meng Dictionary, Chen Zhaochuai 陈诏揣, points to the Netherlands.)

A lasting impression is created by the description of the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

Foreign Goods

Foreign objects frequently appear in the novel. More than 60 pieces of foreign goods mentioned and some of them are described in detail. Most of these foreign goods were Western artifacts. Popular among the upper class were pendulum clocks, watches, Western fabrics, Western wine, glasses including a glass screen to hide the oven bed 玻璃炕屏, sugar and Western medicine, Western ships, Western paintings etc. No other novel in Qing dynasty describes such a variety of Western goods. (Tang 2018:222) Some of the foreign objects in the novel were Siamese tribute gifts like Siamese tea and pigs, wood incense and rose dew. There is a self-chiming bell in Baoyu’s room which was repaired often. Baoyu had a watch and clocks are referred to frequently in the novel.

Several scenes describe how the goods are presented in the Jia home as exotic goods. They are also sent to other family members so that they can see them too. They are attributed to high amounts of money, which even the Jia family sometimes could not afford.

In chapter 16 Wang Xifeng reports: ‘We Wangs received the Emperor on one of his visits, too. At that time my grandfather was in charge of all the foreign tribute and the embassies going up to Court. Whenever any foreigners arrived, it was always my family that put them up. All the goods brought by the foreign ships to the seaports in Kwangtung, Fukien, Yunnan and Chekiang passed through our hands.’

Footnote Chapter 16

凤姐忙接道：“我们王府里也预备过一次。那时我爷爷专管各国进贡朝贺的事，凡有外国人来，都是我们家养活。粤、闽、滇、浙所有的洋船货物都是我们家的。”赵嬷嬷道：“那是谁不知道的？如今还有个俗语儿呢，说：‘东海少了白玉床，龙王来请金陵王。’这说的就是奶奶府上了。如今还有现在江南的甄家，嗳哟好势派！独他们家接驾四次。要不是我们亲眼看见，告诉谁也不信的，别讲银子成了粪土，凭是世上有的，没有不是堆山积海的，‘罪过可惜’四个字竟顾不得了！”凤姐道：“我常听见我们太爷说，也是这样的，岂有不信的。只纳罕，他家怎么就这样富贵呢？”赵嬷嬷道：“告诉奶奶一句话：也不过拿着皇帝家的银子往皇帝身上使罢了，谁家有那些钱买这个虚热闹去！”

‘We Wangs received the Emperor on one of his visits, too. At that time my grandfather was in charge of all the foreign tribute and the embassies going up to Court. Whenever any foreigners arrived, it was always my family that put them up. All the goods brought by the foreign ships to the seaports in Kwangtung, Fukien, Yunnan and Chekiang passed through our hands.’ ‘Everybody knows that,’ said Nannie Zhao. ‘There’s even a rhyme about it

The King of the Ocean Goes along, When he’s short of gold beds, To the Nanking Wang.

That’s your family: the “ Nanking Wangs”. But then there’s the Zhens, who still live down that way in Kiangnan. Myword! There’s riches for you! That family alone received the Emperor four times! If I hadn’t seen with my own two eyes, I don’t care who told me, I wouldn’t have credited it, the sights I saw then! Never mind silver. Silver was just dirt to them. Every precious thing in the world you can think of they had there in mountains. Words like save and “spare” they just didn’t seem to know the meaning of!’ ‘I believe you,’ said Xi-feng. ‘I’ve heard my grandfather talk about it, and he said it was just like that. But it still amazes me that a single family could have so much wealth.’ ‘I’ll tell you something, Mrs Lian,’ said the knowledgeable Nannie. “Twere no more than paying for the Emperor’s entertainment with the Emperor’s own silver. No family that ever lived had money enough of its own to pay for such spectacles of vanity!’

In chapter 67, Xue Pan shows "various foreign articles of domestic use" he brought back as presents, and "novelties from Hu-qiu-shan: little mercury-filled automata who turned somersaults when you put them down on the floor or a table, automata with sand-filled cylindrical bodies whose arms, legs and heads moved when you set the sand running, and lots and lots of scenes from drama made up of tiny figures moulded in coloured clay in cases of transparent green gauze. Most fascinating of all was a tiny made-to-order figure of Xue Pan himself, looking exactly like the original in every detail. Bao- chai had no eyes for anything but this. Picking the tiny replica up in her hand to examine it, she looked from it to the original and burst out laughing."

Footnote: Chapter 67

话犹未了，外面小厮进来回说：“管总的张大爷差人送了两箱子东西来，说：‘这是爷各自买的，不在货账里面。本要早送来，因货物箱子压着，没得拿；昨儿货物发完了，所以今日才送来了。’”一面说，一面又见两个小厮搬进了两个夹板夹的大棕箱。薛蟠一见，说：“嗳哟，可是我怎么就糊涂到这步田地了。特特的给妈合妹妹带来的东西，都忘了，没拿了家里来，还是伙计送了来了。”宝钗说：“亏你说还是‘特特的带来’的，才放了一二十天。要不是‘特特的带来’，大约要放到年底下才送来呢。我看你也诸事太不留心了。”薛蟠笑道：“想是在路上叫人把魂打掉了，还没归呢。”说着，大家笑了一回，便向小丫头说：“出去告诉小厮们，东西收下，叫他们回去罢。”薛姨妈和宝钗因问：“到底是什么东西，这样捆着绑着的？”薛蟠便命叫两个小厮进来，解了绳子，去了夹板，开了锁看时，这一箱都是绸缎绫锦洋货等家常应用之物。薛蟠笑着道：“那一箱是给妹妹带的。”亲自来开。母女二人看时，却是些笔、墨、纸、砚，各色笺纸、香袋、香珠、扇子、扇坠、花粉、胭脂等物。外有虎丘带来的自行人，酒令儿，水银灌的打金斗小小子，沙子灯，一出一出的泥人儿的戏用青纱罩的匣子装着。又有在虎丘山上泥捏的薛蟠的小像，与薛蟠毫无相差。宝钗见了别的都不理论，倒是薛蟠的小像，拿着细细看了一看，又看看他哥哥，不禁笑起来了。因叫莺儿带着几个老婆子，将这些东西连箱子送到园子里去。又和母亲哥哥说了一回闲话，才回园子里去。这里薛姨妈将箱子里的东西取出，一分一分的打点清楚，叫同喜送给贾母并王夫人等处，不提。

Two other pages carried the two cases in, one after the other, while he was speaking. They were large coir trunks, protectively crated between pairs of roped-together boards. ‘Aiyo!’ said Xue Pan. ‘How stupid of me! I brought these things back specially for you and sis, Mamma, but I completely forgot to bring them home with me. Fancy the boys in the shop having to remember them for me!’ ‘It’s a good thing you “brought them back specially”, said Bao-chai. ‘Now we’re only getting them a fortnight late. If you hadn’t “brought them back specially”, we should probably have had to wait until the end of the year! It’s the same with everything you do. You are so thoughtless.’ Xue Pan laughed. ‘I think it’s because of that scare we had on the journey. It scared the wits out of me and they haven’t got back into the right holes yet.’ The others laughed He turned to the boy who had come in with the message. ‘All right. Tell the men outside we’ve got the stuff now and they can go back to the shop.’ Aunt Xue and Bao-chai were curious. ‘Well, what is it you’ve got all crated and corded up so carefully?’ Xue Pan told the pages to untie the ropes, remove the protecting boards and undo the fastenings of the trunks. The first one contained mostly materials - silks, satins, brocades and so forth - and various foreign articles of domestic use. ‘The other trunk is. stuff I got specially for you, sis,’ said Xue Pan. He undid the fastenings of it himself. Besides writingbrushes, ink-sticks, inkstones, different sorts of fancy stationery, purses, rosaries, fans, fan-cases, face-powder, rouge and other feminine articles, it contained a whole lot of novelties from Hu-qiu-shan: little mercury-filled automata who turned somersaults when you put them down on the floor or a table, automata with sand-filled cylindrical bodies whose arms, legs and heads moved when you set the sand running, and lots and lots of scenes from drama made up of tiny figures moulded in coloured clay in cases of transparent green gauze. Most fascinating of all was a tiny made-to-order figure of Xue Pan himself, looking exactly like the original in every detail. Bao- chai had no eyes for anything but this. Picking the tiny replica up in her hand to examine it, she looked from it to the original and burst out laughing. She had the other things put back into the trunk and ordered two of the older servants to carry it to All-spice Court for her under Oriole’s supervision while she herself stayed chatting a little longer with her mother and brother. Then she too went back into the Garden. After she had gone, Aunt Xue proceeded to go over the contents of the other trunk with Providence, taking them out, putting them into separate piles, and explaining which pile was to be given to Grandmother Jia, which to Lady Wang, and so forth.

In chapter 92, four foreign products (洋货) are presented to Jia Zheng, a folding-screen, a three feet tall clock, a huge pearl and a Byssus Net, which is extremely thin and can be used as a mosquito net. The products are too expensive for the Jia family to buy. However, they were considered a possible offering to the court.

Chapter 92

贾政对冯紫道：“有罪，有罪，咱们说话儿罢。”冯紫英道：“小侄与老伯久不见面。一来会会，二来因广西的同来进来引见，带了四种洋货，可以做得贡的。一件是围屏，有二十四扇子，都是紫檀雕刻的。中间虽说不是玉，却是绝好的硝子石，石上镂出山水、人物、楼台、花鸟儿来。一扇上有五六十个人，都是宫妆的女子，名为‘汉宫春晓’。人的眉、目、口、鼻以及出手、衣褶，刻得又清楚，又细腻。点缀布置，都是好的。我想尊府大观园中正厅上恰好用的着。还有一架钟表，有三尺多高，也是一个童儿拿着时辰牌，到什么时候儿就报什么时辰。里头还有消息人儿打十番儿。这是两件重笨的，却还没有拿来。现在我带在这里的两件，却倒有些意思儿。”就在身边拿出一个锦匣子来，用几重白绫裹着。揭开了绵子，第一层是一个玻璃盒子，里头金托子大红绉绸托底，上放着一颗桂圆大的珠子，光华耀目。冯紫英道：“据说这就叫做‘母珠’。”因叫：拿一个盘儿来。”詹光即忙端过一个黑漆茶盘，道：“使得么？”冯紫英道：“使得。”便又向怀里掏出一个白绢包儿，将包儿里的珠子都倒在盘里散着，把那颗母珠搁在中间，将盘放于桌上。看见那些小珠子儿滴溜滴溜的都滚到大珠子身边，回来把这颗大珠子抬高了，别处的小珠子一颗也不剩，都粘在大珠上。詹光道：“这也奇！”贾政道：“这是有的，所以叫做‘母珠’，原是珠之母。”

那冯紫英又回头看着他跟来的小厮道：“那个匣子呢？”小厮赶忙捧过一个花梨木匣子来。大家打开看时，原来匣内衬着虎纹锦、锦上叠着一束蓝纱。詹光道：“这是什么东西！”冯紫英道：“这叫做‘鲛绡帐’。”在匣子里拿出来寸，叠得长不满五寸，厚不上半寸。冯紫英一层一层的打中，打到十来层，已经桌上铺不下了。冯紫英道：“你看，里头还有两褶、必得高屋里去才张得下。这就是鲛丝所织。暑热天气张在堂屋里头，苍蝇蚊子一个不能进来，又轻又亮。”贾政道：“不用全打开，怕叠起来倒费事。”詹光便与马紫英一层一层折好收拾了。 　　 冯紫英道：“这四件东西，价儿也不贵，两万银他就卖。母珠一万，鲛绡帐五千，‘汉宫春晓’与自鸣钟五千。”贾政道：“那里买的起！”冯紫英道：“你们是个国戚，难道里头用不着么？贾政道：“用得着的很多，只是那里有这些银子？等我叫人拿进去给老太太瞧瞧。”冯紫英道：“很是。”

贾政便着人叫贾琏把这两件东西送到老太太那边去，并叫人请了邢王二夫人、凤姐儿都来瞧着，又把两件东西一一试过。贾琏道：“他还有两件：一件是围屏，一件是乐钟。共总要卖二万银子呢。”凤姐儿接着道：“东西自然是好的，但是那里有这些闲钱？咱们又不比外任督抚要办贡。我已经想了好些年了，像咱们这种人家，必得置些不动摇的根基才好：或是祭地，或是义庄，再置些坟屋。往后子孙遇见不得意的事，还是点儿底子，不到一败涂地。我的意思是这样，不知老太太、老爷、太太们怎么样？若是外头老爷们要买只管买。”贾母与众人都说：“这话说的倒也是。”贾琏道：“还了他罢。原是老爷叫我送给老太太瞧，为的是宫里好进，谁说买来搁在家里？老太太还没开口，你便主了一大堆丧气话。”说着，便把两件东西拿出去了，告诉贾政，只说：“老太太不要。”便与冯紫英道：“这两件东西好可好，就只没银子。我替你留心，有要买的人我便送信给你去。”冯紫英只得收拾好了，坐下说些闲话，没有兴头，就要起身。贾政道：“你在这里吃了晚饭去罢。”冯紫英道：“罢了，来了就叨搅老伯吗？”贾政道：“说那里的话。” 正说着，人回：“大老爷来了。”贾赦早已进来。彼此相见，叙些寒温。不一时摆上酒来，肴馔罗列，大家喝着酒。至四五巡后，说起洋货的话。冯紫英道：“这种货本是难消的。除非要像府这样人家还可消得，其馀就难了。”贾政道：“这也不见得。”贾赦道：“我们家里也比不得从前了，这回儿也不过是个空门面。”冯紫英又问：“东府珍大爷可好么？我前儿见他，说起家常话儿来，提到他令郎续娶的媳妇远不及头里那位秦氏奶奶了。如今后娶的到底是那一家的？我也没有问起。”贾政道：“我们这个侄孙媳妇儿也是这里大家，从前做过京畿道的胡老爷的女孩儿。”冯紫英道：“胡道长我是知道的。但是他家教上也不怎么样。也罢了，只要姑娘好就好。” 贾琏道：“听得内阁里人说起，雨村又要升了。”贾政道：“这也好。不知准不准？”贾琏道：“大约有意思的了。”冯紫英道：“我今儿从吏部里来，也听见这样说。雨村老先生是贵本家不是？”贾政道：“是。”冯紫英道：“是有服的，还是无服的？”贾政道：“说也话长。他原籍是浙江湖州府人，流寓到苏州，甚不得意。有个甄士隐和他相好，时常周济他。以后中了进士，得了榜下知县，便娶了甄家的丫头。如今的太太不是正配。岂知甄士隐弄到零落不堪，没有找处。雨村革了职以后，那时还与我家并未相识，只因舍妹丈林如海林公在扬州巡盐的时候，请他在家做西席，外甥女儿是他的学生。因他有起复的信，要进京来，恰好外甥女儿要上来探亲，林姑老爷便托他照应上来的，还有一封荐书托我吹嘘吹嘘。那时看他不错，大家常会。岂知雨村也奇：我家世袭起，从‘代’字辈下来，宁荣两宅，人口房舍，以及起居事宜，一概都明白。因此，遂觉得亲热了。”因又笑说道：“几年间，门子也会钻了，由知府推升转了御史，不过几年，升了吏部侍郎，兵部尚书。为着一件事降了三级，如今又要升了。 冯紫英道：“人世的荣枯，仕途的得失，总属难定。”贾政道：“天下事都是一个样的理哟。比如方才那珠子，那颗大的就像有福气的人似的，那些小的都托赖着他的灵气护庇着。要是那大的没有了，那些小的也就没有收揽了。就像人家儿当头人有了事，骨肉也都分离了，亲戚也都零落了，就是好朋友也都散了。转瞬荣枯，真似春云秋叶一般。你想做官有什么趣儿呢！像雨村算便宜的了。还有我们差不多的人家儿，就是甄家，从前一样功勋，一样世袭，一样起居，我们也是时常来往。不多几年他们进京来，差人到我这里请安，还很热闹。一会儿抄了原籍的家财，至今杳无音信。不知他近况若何，心下也着实惦记着。”贾赦道：“什么珠子？”贾政同冯紫英又说了一遍给贾赦听。贾赦道：“咱们家是再没有事的。”冯紫英道：“果然尊府是不怕的。一则里头有贵妃照应；二则故旧好，亲戚多；三则你们家自老太太起，至于少爷们，没有一个刁钻刻薄的。”贾政道：“虽无刁钻刻薄的，却没有德行才情。白白的衣租食税，那里当得起？”贾赦道：“咱们不用说这些话，大家吃酒罢。”

Jia Zheng turned to Feng. ‘Please forgive us. How are you keeping?’ ‘It has been a long while since we last met,’ said Feng. ‘My visit today is partly of a social nature, and partly occasioned by the presence in the capital of a deputy-prefect from Kwangsi province, who is here for an audience with His Majesty and has brought with him four curios, some of them imported, that would make excellent palace-offerings. The first is a folding screen of twenty-four panels, carved of pure blackwood. Though the stone used for the carved inlay - landscapes, figures, buildings, birds and flowers - is not jade, it is a high quality serpentine. Each panel has a palace scene, with fifty or sixty palace-ladies. It is called "Spring Morning in the Han Palace". The features, gestures and costumes are rendered with great clarity. The finish is quite exquisite, the detail and composition of the highest order. It would be perfect for the main hall of Prospect Garden, sir. The second item is a large wall-clock over three feet high. This is a most unusual item. It has a little figure of a boy on the face that indicates the hour with a pointer, and inside it has a little mechanical orchestra. Those two heavier articles I was not able to bring with me. I have however brought the other two, which I think you will find quite fascinating.’ Feng produced an embroidered casket wrapped in several layers of white damask-silk. Unwrapping it, he raised the lid, removed the protective pad of silk-wool beneath it and displayed its contents. In the top compartment of the casket lay a little glass container with a fitted lid. In this container, on a piece of crimson silk that lined its inner casing of gold, lay a magnificent lustrous pearl, as large as a longan. ‘This,’ announced Feng, ‘is known as a Mother Pearl.’ He asked for a tray and Zhang Guang handed him a teatray of black lacquer, asking: ‘Will this do?’ ‘Perfectly,’ replied Feng, taking from the inner pocket of his gown a white silk bundle. This too contained pearls, of an ordinary size, which he tipped out onto the tray. He then placed the ‘Mother Pearl’ in their midst and put the tray down on the table. Like so many perfect drops of water the smaller pearls rolled across the tray towards the large central pearl. And when Feng lifted the ‘Mother’, all the little ones clung to her. Not a single one was left on the tray. ‘Amazing!’ exclaimed Zhan Guang. ‘An interesting phenomenon,’ observed Jia Zheng. ‘And most appropriately named.’ ‘Where is the other casket?’ asked Feng turning to his page, who promptly came forward with a rosewood casket held aloft in both hands. The three men gathered round as it was opened. On its lining of tiger-brocade lay a length of blue gauze-like material, many times folded. ‘And what is this?’ asked Zhan Guang. ‘This,’ replied Feng, ‘is called Byssus Net.’ He took it from the casket and laid it on the table. Folded as it was, it occupied a space no more than five inches long and less than half an inch thick. Feng began to unfold it. When he had done so a dozen times, it extended over the edge of the table. ‘There are still two folds to come,’ he explained. ‘To unfold it to its full extent we would need to hang it in a room with a high ceiling. This fabric is woven from the Byssus, the so-called Mermaid’s Tears. In extreme heat it would make a perfect fly and mosquito-net for use in a large reception hall. As you can see, it is extremely light and transparent.’ ‘Please do not unfold it fully,’ said Jia Zheng. ‘It might prove hard to fold again.’ Feng and Zhan Guang carefully folded the net and replaced it in its casket. ‘The price being asked for these four curios is really very reasonable,’ said Feng. ‘I think he would be willing to part with the four for twenty thousand taels. Ten thousand for the Mother Pearl, five thousand for the Byssus Net and two thousand five hundred each for the screen and striking clock.’ ‘We. could not possibly buy them, I’m afraid,’ said Jia Zheng. ‘But with your connections in the palace,’ said Feng, ‘surely they would make an ideal ~ ‘I dare say they would,’ replied Jia Zheng. ‘I dare say all sorts of things would. But we simply haven’t the money. I would like Lady Jia to see them, all the same.’ ‘By all means.’ Jia Zheng sent a page to fetch Jia Lian, who was instructed to take the pearl and the precious net through to Grandmother Jia’s apartment. He also sent a servant to invite Lady Xing, Lady Wang and Xi-feng to come and view them. ‘There are two other items,’ Jia Lian explained to the ladies. ‘A folding screen and a musical clock. The whole lot is going for twenty thousand taels.’ ‘What!’ said Xi-feng sharply. ‘I grant you they’re fine pieces. Hut we definitely haven’t the cash to spare. Besides we’re not like provincial viceroys and governors, who are expected to make such offerings. No; over the years I’ve come to the conclusion that the most sensible way to secure our financial future is to invest in land and property-trust-land for provision of sacrificial funds, and free burial-grounds for the clan with permanent caretakers’ quarters. Such things would be there for the family to fall back on in hard times, an insurance against ruin. I don’t know if Grannie, Father and Mother agree with me or not? Of course, if Sir Zheng and Father want to buy these things, it’s entirely their decision.’ Grandmother Jia led the chorus in Xi-feng’s support. ‘You’re absolutely right, my dear.’ ‘Give them back to me then,’ said Jia Lian grumpily. ‘Sir Zheng only sent me to show them to Grandmother as a possible palace-offering. No one said anything about buying them for ourselves. Trust you to pour cold water on the whole idea before Grandmother has even had a chance to speak!’ Jia Lian returned to the study with the curios, and reported that Grandmother Jia did not wish to buy them. ‘No one denies their quality,’ he said to Feng Zi-ying. ‘But we just can’t afford them. I’ll keep my eyes open though, and if I come across a likely buyer I’ll definitely let you know.’ Feng packed them away again, evidently disappointed. He sat and chatted for a while without much enthusiasm, and soon made motions of leaving. ‘Won’t you stay to dinner?’ asked Jia Zheng. ‘I have already taken up too much of your time...’ ‘Not at all. We should be delighted.’ As they were speaking Jia She was announced. He was already in the room, and after greeting Feng engaged him in conversation for a few minutes. Presently wine was served and various delicacies were set on the table. After the fourth or fifth round of wine, the subject of the curios came up again. ‘Actually it’s rather hard to sell stuff like this,’ confessed Feng. ‘The market is restricted to the few illustrious families such as yours. ‘Oh come, I am sure you will find someone,’ Jia Zheng consoled him. ‘Besides,’ observed Jia She in a rather maudlin tone, ‘we are not exactly the great and glorious house we once were, you know. Nothing but a hollow facade...’ ‘How is Mr Zhen over at Ning-guo House by the way?’ asked Feng. ‘I saw him the other day and in the course of conversation he mentioned this new wife of his son’s. Not a patch on his first, so he was saying. Who is she anyway? I never did ask her name.’ ‘She’s a Hu-they’re an old local family. Her father was once Taotai of the Metropolitan Circuit,’ Jia Zheng informed him. ‘Oh, I know Intendant Hu....’ said Feng. ‘Heard that he lets some pretty rum things go on in his house too. Still, the main thing is that the gal should have turned out all right.’ ‘I heard from someone at the Grand Secretariat that Yu-cun is to be promoted again,’ put in Jia Lian. ‘Really?. I’m glad to hear that,’ said Jia Zheng. ‘Has it been made official yet?’ ‘Most probably,’ said Jia Lian. ‘Yes, I heard the same myself when I was at the Board of Civil Office earlier today,’ said Feng. ‘Am I right in thinking that he is a relation of yours, sir?’ ‘He is,’ answered Jia Zheng. ‘A close one?’ ‘It is a long story,’ said Jia Zheng. ‘He comes originally from Hu-zhou in Chekiang. He left home and was lodging in Soochow, eking out a rather unsatisfactory existence, when he was befriended by a gentleman named Zhen Shi-yin, who provided the means or him to better himself. Yu-cun later went on to become a palace graduate, and passed out with flying colours and an immediate posting as a magistrate in one of the provinces. He took one of this benefactor’s maidservants as his concubine; she is now, I believe, his principal wife. Old Zhen himself was reduced to destitution by a strange series of calamities, and finally disappeared without trace.’ ‘We only came to know Yu-cun,’ continued Jia Zheng, ‘when my brother-in-law, Lin Ru-hai, who at that time was the Yangchow Salt Commissioner, engaged him as private tutor for his daughter - this was after his dismissal. Then Yu-cun learned of the general reinstatement for dismissed officials and planned to come up to the capital to take advantage of it. My niece - Ru-hai’s daughter - was, as it so happened, just about to come and visit us here, so her father persuaded her tutor to travel with her and act as her escort. He also sent me a letter of recommendation, asking me to put in a good word for him where I could. I formed a favourable impression of him, and from then on we saw a good deal of one another. One thing I remember finding most extraordinary about Yu-cun: he seemed to have familiarized himself with every detail of our family history. There was nothing he did not know. Who our ancestors were, how they won their titles, every ramification of the Rong-guo and Ning-guo family trees, exactly how many of us there are, who we all are, where we all live, what we all do - why, he was a mine of information! I liked him for it, I must say. Jia Zheng smiled, and went on: ‘He’s done extremely well for himself in the last few years too. Promoted from Prefect to Censor, then in a few years to Vice-president of the Board of Civil Office, then President of the Board of War. He was demoted three grades for some incident, but now it seems he is to be promoted again.’ ‘How hard it is to predict the vicissitudes of human life,’ commented Feng Zi-ying. ‘And yet there is a pattern in all things,’ said Jia Zheng. ‘Take your p earl for instance. The big one is like a man blessed with fortune; the little ones are his dependants, sheltering in the shade of his influence. If the big one goes, then the little ones are helpless. If the head of a family is in trouble, his wife and children are taken from him, his relations are left destitute, even his friends he may see no more. Prosperity may crumble in the twinkling of an eye, like the passing of a spring cloud or the falling of an autumn leaf. What joy is there in public life? My kinsman Yu-cun has had a comparatively easy time of it. But take a case nearer home, the Zhen family, like our own in so many respects. They too were ennobled for their services to the Throne. Their style of life has always been very like ours. We used to see a great deal of them. I remember not many years ago when they were here in the capital, they sent one of their men round to convey their respects, and all seemed well. Yet not long afterwards their family estate was confiscated, and goodness alone knows what has become of them now. We have had no news of them for so long. My heart goes out to them.’ ‘What’s this about a pearl?’ asked Jia She. Jia Zheng and Feng Zi-ying gave him a description of the ‘Mother Pearl’. ‘We need have no fears,’ said Jia She, resuming the previous topic of conversation. ‘Nothing can happen to us.’ ‘Of course not, sir,’ said Feng, ‘with Her Grace to protect your interests at Court, with such enviable connections and such a host of relations, and with a family that from Lady Jia down to the younger generation has such an impeccable record... ‘Granted,’ said Jia Zheng somewhat grimly. ‘But our respectability is more than balanced by our lack of ability and positive achievement. We are living on borrowed time, and one day it will run out.’ ‘Do let’s put an end to this depressing conversation,’ said Jia She, ‘and have another drink.’

Foreign glass in the Dreams

There are many kinds and styles of western ware in the Red Chamber Dreams. As an abstract symbol that can be conveyed and interpreted, western ware such as "glass" in eighty editions of the Red Chamber Dreams contains the cultural code of a specific class, which has obvious symbolic function and implicit differentiation function. (Tang 2018:220) Although the missionaries helped to establish a small glass production at the Qing court, China had no genuine glass production and glass generally was imported from Europe, especially the larger pieces of glass and mirrors still were imported from abroad. In the novel, various kinds of glass ornaments, containers, ornaments and other glassware frequently appear, in various types and styles. So the novel gives the impression that glass was quite common. (Meng 2009:50)

Hall thinks that "culture first involves the production and exchange of meaning among members of a society or group", which "depends on its participants making meaningful interpretations of what is happening around them in roughly similar ways and 'understanding the world'". In his understanding, the meaning of things is not fixed, but produced. The meaning of an object that appears to have been shaped is certain, but the meaning changes, when its location, the person concerned, and the way of description change. (Hall 2003:2) In juxtaposition to this, I think that objects come before meaning. In the novel, new objects are first introduced, touched and only afterwards explained, while it remains unclear of the true, original meaning in the original cultural environment stays the same.

According to Tang 2018, the frequent use of the precious glass objects receives a second meaning, symbolizing unusual wealth and power, and becoming a symbol to distinguish different classes. (Tang 2018:227-228)

Foreign fabrics

Foreign fabrics came, like horses and grapes, also through the Silk Road to China. In the Dreams these foreign fabrics were mostly Doroit 哆罗呢 and Fansi 番羓丝. (Zeng 2011:14)

In chapter 49 Li Wan wears a "blue doro double-breasted jacket" 青哆罗呢对襟褂子. Doro is based on doro leaves (similar to a palm tree). The fabric is organized densely, its appearance is soft and smooth, it is used for raincoats and storm coats. It was introduced to China from Holland during the late Ming Dynasty and early Qing Dynasty. It was regarded as a treasure and was mostly used as winter clothes for nobles. (Zeng 2011:14)

Also in chapter 49, Xue Baochai wears the following imported fabric: "a crane cloak with lotus blue bucket pattern and icing on the cake with foreign thread" 莲青斗纹锦上添花洋线番羓丝的鹤氅. (Zeng 2011:14)

In chapter 8, Lin Daiyu visits Xue Baochai "wearing a pair of red camlet jackets," 外罩着大红羽缎对衿褂子, while in chapter 49, the sisters wear "a blanket of orangutan and feather satin cloak" 大红猩猩毡与羽毛缎斗篷, while stepping on the snow. Lin Daiyu "wears a crane cloak with a red camlet surface and a white fox" 罩了一件大红羽纱面白狐狸里的鹤氅. Camlet is also called "camlet feather crepe 羽绉," "feather satin 羽毛缎". Igt is a kind of wool fabric, closely organized, it has a thick texture, its appearance is firm and smooth, it can resist rain and snow. Satin is thin camlet from the Netherlands and Thailand. It is often used as foreign tribute. It was regarded as a treasure for winter clothes of the aristrocracy. (Zeng 2011:14)

Footnote

The first is the elaborate fabrics, of which imported fabrics are representative. Since the opening of the Silk Road in the Western Han Dynasty, the cultural exchanges and trade cooperation between the Central Plains and the outside world have become more and more frequent, and the Ming Dynasty opened up the Silk Road, further strengthening the exchanges with Western countries. China exchanged silk, porcelain, tea, etc. for horses, grapes and foreign clothing, etc. The novel "Dream of the Red Chamber" in the appearance of imported fabrics are mainly do Luo tweed and Fan Cao silk.

Do Luo Tweed: In the 49th chapter of the novel "Dream of the Red Chamber", Li Dian wears a "green Do Luo Tweed lapel coat". Doro tweed is made from the leaves of the Doro tree (a palm-like tree), the fabric is tightly organized, soft and smooth, mostly used for raincoats and snow coats. The late Ming and early Qing dynasties from the Netherlands into China, is regarded as a precious commodity, mostly used as noble winter clothing.

2. Fan Cervil silk: the same is the 49th round, Xue Baochai wears a "lotus green do pattern brocade add flowers on the crane cloak of foreign line Fan Cervil silk", Fan Cervil silk is an imported fabric.

3. feather satin and feather yarn: feather satin is also called satin "feather crepe", "feather satin", is a woolen textile, tightly organized, thick texture, firm and smooth exterior, can resist rain and snow. Feather yarn for the sparse and fine of feather satin, from the Netherlands and Thailand, for foreign tribute, is regarded as a precious commodity mostly used in the winter clothing of the nobility. The novel "Dream of the Red Chamber" in the 8th episode when Lin Daiyu visited Xue Baochai "covered with a big red feather satin on the belt", the 49th episode of the snow when the sisters wearing "big red gorilla felt and feather satin cloak", while Lin Daiyu is "covered with a big red feather gauze face white fox in the crane cloak ".

首先是考究的面料，其中舶来面料是代表。自西汉开通丝绸之路以来，中原与外界的文化交流、商贸合作越来越频繁，至明代更是开辟了 海上丝绸之路，进一步加强了与西方各国的交流。中国用丝绸、瓷器、茶叶等换来了骏马、葡萄以及外国衣料等等。小说《红楼梦》中出现的舶来面料主要有哆罗呢和番羓丝。

1.哆罗呢：小说《红楼梦》第49回中，李纨穿一件“青哆罗呢对襟褂子”。哆罗呢取材于哆罗树叶（一种类似棕榈的树），织物组织紧密，外表柔软而滑爽，多做雨衣、雪衣。明末清初时期由荷兰传入中国，被视为珍品，多用作贵族冬衣。

2.番羓丝：同样是第49回中，薛宝钗穿的一件“莲青斗纹锦上添花洋线番羓丝的鹤氅 ”，番羓丝是一种舶来面料。

3.羽缎和羽纱：羽缎也叫缎“羽绉 ”、“羽毛缎 ”，是一种毛纺织物，组织紧密，质地厚实， 外表坚挺而爽滑，可御雨雪。羽纱为羽缎之疏细者，出自荷兰和泰国，为外国贡品，被视为珍品多用于贵族的冬衣。小说《红楼梦》第 8 回中林黛玉看望薛宝钗时“外罩着大红羽缎对衿褂子 ”，第49回踏雪时众姐妹着“大红猩猩毡与羽毛缎斗篷”，而林黛玉则“罩了一件大红羽纱面白狐狸里的鹤氅 ”。

Foreign patterns on clothes

Like today Chinese characters are globally used as fashionable tatoos, at that time the talisman character "万" (wan, literally "ten thousand"), which was seen in Indian Buddhism as auspicious, was used as traditional embroidery pattern. The swastika pattern "卍" was often used as a symbol of "fire" or "sun," and means "good luck" in Sanskrit. After Buddhism was introduced to China, it was widely used as decorative pattern. It implies "amplification of light, auspicious virtue." In the period of Wu Zetian , the pronunciation was "wan", meaning "blessing and noble." In chapter 19, the origin of Wan'er's name is explained with: "When his mother raised him, she dreamed that she had a piece of brocade, on which there was a pattern with rich and noble of five-colored swastika heads, so his name was called 卍er." (Zeng 2011:15) The "Flowering Clouds and Wanfu Pattern" mentioned in chapter 40 of the Red Chamber Dreams is the combination of the cloud pattern, the blessing pattern, and the swastika pattern, meaning "longevity without borders". (Chen 2007:90)

Footnote

其次是吉祥纹样，抽象几何纹样则是外来元素的代表，比如字纹。1.字纹：即万字纹，为传统织绣纹样之一。原为一种符咒、护符，后被用作印度佛教的吉祥标志 。“卍”读作“万”通常被认为“太阳”或“火”的象征，梵文意为“吉祥万德之所吉”。 佛教传入中国后，被广泛采用为装饰纹样。因其字为十字交叉，朝向四方辐射，寓意为“放大光明、吉祥万德 ”，唐武则天时期，将其读音定为“万”，寓意为“福贵不断 ”。小说《红楼梦》第19回，解释说万儿名字的来历时，“他母亲养他的时节做了个梦，梦见得了一匹锦，上面是五色富贵不断头卍字的花样，所以他的名字叫作卍儿。”

Standardized translation of terms from the Costume Culture

There is also a study on the coherance of the translations of costume-related terms in the Yang & Yang as well as the Hawks & Minford translations. The Y&Y edition describes the costumes more from the Chinese perspective, the H&M edition more from the British one. (Zhang, Xu 2014:111)

Footnote

本文选取《红楼梦》两个全译本（杨宪益和戴乃迭夫妇译本与霍克斯先生译本）中关于王熙凤服饰描写的片段，从文化协调的角度，探究如何遵循适时、适量、适度的文化协调翻译原则，把握分寸，协调服饰翻译中的文化矛盾，实现服饰文化的和谐翻译，加强不同文化之间的了解、尊重与借鉴。

Foreign Crepe

Wang Xifeng's dress is described as "jadeite flowery foreign crepe skirt", including aspects of quality and color. For the interpretation of "foreign crepe" in this sentence, academic views differ. One of the opinions is that it was warp and weft with pure raw silk after refining dyed fabrics, because warp and weft silk twists to different, natural wrinkles, so the name "foreign crepe". Since under the reign of Kangxi, Yongzheng, and Qianlong, there was basically no so-called imported "crepe material", and it was probably just the "Wo satin" that imitated the imported satins from Japan with their typical patterns and colors. (Zhang, Xu 2014:114).

According to Zhang and Xu, the so-called "foreign" crepe is therefore called "foreign" because during the Daoguang period, all the most valuable things were called "foreign". In the north and south of the Yangtze River, imported goods were considered fashionable. Therefore, "foreign crepe" actually refers to first-class silk, which is only used for the clothing of the aristocracy. These crepes were not really imported.

Another opinion is, that they were imported. In chapter 16 Wang Xifeng said that her grandfather was in charge of tributes and congratulations from various countries, and all the goods of foreign ships in Guangdong, Fujian, Yunnan and Zhejiang belonged to her family. Perhaps what the novel wanted to reflect at that time was the value of the fabric. Even today, we would agree to some extent that imported fabrics are high-end. Yang used the word "crepe". From the perspective of cultural transmission and development, I think using "rare silk crepe" is better to integrate the various aspects. (Zhang, Xu 2014:114)

Footnote

“翡翠撒花洋绉裙”是对 凤 姐 裙 装 质 地、颜 色 和 图 案 的 描 述，该句中对于“洋绉”的解释，学界观点不一。一则认为是经纬用纯生丝经炼染后的面料，因为经纬丝线捻向不同，产生自然皱纹，故得此名“洋绉”。因为康雍乾时期，基本没有所谓的进口“绉料”，可能只是仿制日本进口缎匹的“倭缎”，属于是图案和花色上的舶来品。而洋皱之所以称“洋”，是因为道光年间，凡物之极贵重的，皆谓之洋。大江南北，莫不以洋为尚。因此“洋绉”实际属于上等丝绸，只被贵族服装专用，并非真正进口产品。再则认为小说第十六回里王熙凤说自己的爷爷单管各国进贡朝贺的事，粤闽滇浙各地所有洋船货物都是她们家的，这与霍译的“imported silk”完全吻合。或许小说当时要体现的是该面料之贵重，虽然在今天，我们也会在一定程度上认同进口的就是高档的，但是还原历史，杨译虽用了crepe 一词，但是从文化传播和发展角度剖析，补加rare silk crepe 的协调翻译，相对而言是协调各种矛盾的和谐译文。(page 114)

Weaving background of the Cao family

Cao Yin in the age of 17 was a bodyguard of the emperor and in April 1690 became a weaver in Suzhou and later in Jiangning. He secretly reported to Kangxi about the situation in Jiangnan. (Zeng 20#:14-15?)

Religious dresses

The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.(Zeng 20#:14-15?)

Buddhist elements in clothing

There are also some other foreign elements in this famous novel. Firstly, Buddhism culture in the Red Chamber Dreams. Some characteristic expressions，for example，"Xingluo 璎珞" was originally a piece of decoration around the neck of Buddha statues in ancient India. Later, it was introduced into China along with Buddhism. The shape was larger, the most showy in the collar. (Zhang, Xu, 2014:113)

Footnote

“璎珞”原为古代印度佛像颈间的一种装饰，后随佛教一并传入我国，唐代时被爱美求新的女性所模仿和改进，变成珠玉串成的项饰。形制较大，在项饰中最显华贵。

Meaning of clothes

Red Chamber Dreams describe the materials and patterns of the characters' costumes, and points out that the costume patterns are the manifestation of the national aesthetic psychology and the hierarchical culture of "differentiating the noble and the lowly, and not the prestige". It is rich in cultural connotations, such as the status of the characters , cultural integration, social system and traditional customs, etc., and expounds the reference role of the red mansion clothing pattern on the research and design of modern clothing pattern.(Chen 2007: 89)

For example, in the Red Chamber Dreams, Cao Xueqin gave detailed descriptions on the styles and patterns of the clothings , which serves as a showcase deplaying its rich cultural connotations, say its related changes throughout the history, social systems, social status, customs as well as lending itself into the other cutlures and etc. (Chen 2007:89)

Han and Manchu Combination

The many clothes of the more than 400 characters in the novel with its more than 50 fabrics is not just evidence of the weaver background of Cao family, but also a treasure of the fashion of the time, which was characterized by an integration of Han and Manchu culture (Cui 2004:111-113, 116).

The author Cao Xueqin lived under the reigns of Kangxi and Qianlong. This was a period of cultural fusion between the Manchu and Han nationalities. Manchu and Han costumes merged in styles and patterns. For example: Han women's coats were becoming longer and longer, similar to robes, and Manchu clothing was increasingly drawing on the form and content of Han clothing in the application of patterns. The patterns of the "Yahhai Five-clawed Dragon and White Python Robe" are the result of learning from the costumes of the Han nationality in Qing Dynasty costumes. In terms of decorative styles and techniques, the boundaries between costumes of the two ethnic groups are no longer so clear. For example, the cheongsams and vests of Manchu women's clothing all adopt the auspicious decorations and embroidery techniques of the Han nationality. Manchu and Han costumes moved from opposition in the early stage to fusion in the late Qing Dynasty.(Chen 2007: 89-90)

Clothing in Europe

In the mid-19th century, European clothing was influenced by neoclassicism, and complex decorations such as "Bassel skirts" appeared. The Qing Dynasty clothing at the same time was also carrying out gorgeous constructions of decorative patterns. The clothing patterns of Qing Dynasty have many characteristics similar to the neoclassicalism of the Western contemporary era, which is reflected in the combination of the traditional decorative style and the style of the times, and the combination of various unique flower sashes, independent patterns, all over the ground patterns and auspicious patterns on the clothing. For a specific style, the whole set of clothing appears to be Manchu style at first glance, but if you observe carefully, there are Han nationality decoration themes, as well as traits of Mongolian and other ethnic minorities' decoration methods. (Chen 2007:90)

Earliest Western Reception of the Description of Clothing in the Red Chamber Dreams

For this paragraph, I refer to an earlier paper of mine (Woesler To amuse#) from which I pick four paragraphs, which show how the description of Chinese clothes was used to "amuse the Beaux and the Belles" (meaning men and women interested in beauty among the Western readers).

Also for foreign readers, the description of the dressing of Jia Baoyu and Wang Xifeng at the beginning of the novel is one of the earliest passages translated into English and presented by Goldsmith as a proof of the exquisite dressing, to "amuse the 'Beaux and Belles'". (Goldsmith#, cf. Woesler#)

In 1837 and in all following editions, the popular author Oliver Goldsmith integrated a shortened part of John F. Davis’ translation of the introduction of Jia Baoyu in a footnote to the second volume of his “Chinese Letters,” a famous variation of the Lettres Persanes: His letters appeared originally in the newspaper Public Ledger in 1760-1762; there, he often refers to Davis’ competence on China. He collected them and published them in two volumes, e.g. 1825 vol. I. The extract by Davis is quoted also in the editions following the edition of 1837 (1850, 1854, 1856, 1857, 1880, 1885, 2005). In 1837, it is found in vol. 2 p. 158, fn. 2. Oliver Goldsmith, The miscellaneous works of Oliver Goldsmith, London: John Murray 1837, vol. II, 551 S., here p. 158. In an earlier version, e.g. 1790, the footnote read: “Before the Tartar conquest, the men prided themselves on nothing more than the luxuriance, blackness, and length of their hair. All this, however, was changed at the conquest of the empire, for the Tartars holding in abhorrence long hair on the head of a man, ordered the Chinese to cut theirs off; and the tyrannical law was the cause of insurrections and bloodshed. The men now shave their heads, leaving only a small circle near the crown, whence some hair descends in a long tail or queue.” (Woesler To amuse…:#)

Once more, he published this excerpt not for its own sake, but as proof that his own, imaginary description of a Chinese male, was actually the ideal of beauty of contemporary China. (Woesler To amuse…:#) The original reads: “Oh! but he looked most charmingly; he is reckoned the best-shaped man in the whole province, for he is very fat and very short; but even those natural advantages are improved by his dress, which is fashionable past description. His head was close shaven, all but the crown, and the hair of that was braided into a most beautiful tail, that reached down to his heels, and was terminated by a bunch of yellow roses.” (Goldsmith 1837:158)

For this purpose, he introduced Jia Baoyu’s description with the words: “In a Chinese novel called Hung-low-Mung, or ‘The Red Chamber Dreams,’ translated by Mr. Davis, is the following description of a Chinese dandy : ‘His beautiful nose was full, like the gall-bladder of a quadruped ; and he had a face like the moon in the midst of autumn : […] from his head to the end of his tail, which dangled to the ankles, hung four strings of precious stones set in gold. His upper tunic was pink spangled with flowers; his trowsers and stockings were embroidered, and his shoes were of a deep red colour, with thick white soles: ten thousand thoughts of love collected in the corner of his eye.’” (Woesler To amuse…:#)

The novel seems to be abused here for a very ethnocentric approach. (Woesler To amuse…:#)

World Documentary Heritage

The World Documentary Heritage contains a number of immaterial cultural goods which are considered worth being kept.

The variety of cultures in the Red Chamber Dreams is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

Conclusion

The Red Chamber Dreams are a Han-Manchu intracultural and a Chinese-Western intercultural novel. Although Western cultural objects were rare and expensive, they are naturally integrated into the everyday life of the Jia family. This integration is a manifesto that culture reaches its peak when different cultural origins can be combined to create a new, here Chinese culture of the upper class, which values the different origins of its source cultures. With this manifesto, the novel is of timeless value. Similarly, the novel appears even modern today due to its realistic description and unconditional acceptance of all sorts of sexual orientation, including homosexual and bisexual ones. The main protagonist shows the readers, that an acceptance not only of different cultures, but also of different personalities regardless of their social status, creates humanism. The protagonist Jia Baoyu even accepted another wife Xue Baochai than his beloved one Lin Daiyu, which shows a major difference to the main Western tragic love stories, where often both partners die when they realize that they cannot be together. This is a unique approach, qualifying the novel to be accepted as part of the World Documentary Heritage.

Notes cont'd

The geometric pattern in Red Chamber Dreams is a swastika pattern, which was originally a spell, amulet or religious symbol in ancient times. The "Flowering Clouds and Wanfu Pattern" mentioned in chapter 40 of the Red Chamber Dreams is the combination of the cloud pattern, the blessing pattern, and the swastika pattern, meaning "longevity without borders". (Chen 2007: 90)

Chinese traditional culture is full of subtle beauty with unique artistic charm. This kind of beauty has a strong oriental sentiment, so it attracts more and more design masters to study traditional Chinese culture, mainly in the design of clothing patterns and colors. The latest work by French designer Cui Buya shows a strong traditional Chinese style - brocade with large tulle pattern, which is a reference to the "tuanhua" pattern in Red Chamber Dreams. , which not only reflects the charm of the times, but also reveals a strong Chinese complex. The world-renowned fashion designers such as Christian LaRocco, Pierre Balmain and Givenchy have all drawn inspiration from traditional Chinese art, and used a lot of exquisite flower embroidery and beading in traditional Chinese costumes in their works. The form of decoration and the patterns of the clothing draw on the style of clothing patterns in the Ming and Qing Dynasties of China, which are both graceful and luxurious, and refined and elegant.(Chen 2007: 91)

11.8

中西富贵人家西方奢侈品消费之同步 ———基于 《红楼梦》 的考察分析 张 丽

16 世纪至 19 世纪初的中国常常被喻为世界的白银蓄池。 很多研究在讨论这一时期中西贸易时都倾向于强调商品的西流 ( 商品从中国向欧洲、 美洲流动) 和白银的东流 ( 白银从欧洲、 美洲向中国流动) ①, 以及中国器物对欧洲社会、 经济、 文化发展的影响②。 相比之下, 对这一时期欧洲商品在中国的消费及其对中国的影响, 则研究甚少。 20 世纪 20 年代以来, 更有一种观点认为, 明清中国社会对欧洲商品不感兴趣①, 忽视了中国富贵人家对西方产品的消费和推崇。 把这种消费放到全球经济发展历史背景下进行讨论, 并与欧洲上层社会相比较的研究, 更是付之阙如。

本文从全球视角考察 《红楼梦》 中的西洋品消费, 把 《红楼梦》 中的西洋品消费与全球海洋贸易扩张、 欧洲商业革命、 欧洲制造业发展和欧洲消费革命联系起来。 通过搜集和分析 《红楼梦》 中关于西洋器物的文字描述, 本文认为至少在 18 世纪初, 西方产品已深入到中国富贵人家的日常生活中, 且备受追捧。 《红楼梦》 中出现的西洋品几乎囊括了 18 世纪初欧洲上流社会追逐的所有高档生活奢侈品, 其中一些即使在当时的欧洲也极为珍贵和时尚, 只有极少数上流社会家庭才有能力消费。 通过把 《红楼梦》 中贾府的西洋奢侈品消费与同一时期欧洲富贵阶层的西方奢侈品消费相比较, 本文认为, 尽管 17 ～ 18 世纪中国缺少白银, 与欧洲远隔重洋, 且与欧洲文化大不相同, 但中国富贵人家在欧洲奢侈品的消费上几乎与欧洲富贵阶层同步。

二 《红楼梦》 中的西洋器物

《红楼梦》 中有很多关于西洋制造品的描述。 前 80 回中, 30 回里出现有西洋物品, 描写文字 70 余处, 涉及产品 20 余种 ( 参见附表)。 这些西洋产品几乎囊括了当时欧洲所有最先进和最时尚的生活奢侈品, 既有欧洲本土传统玻璃制造业的各种玻璃制品, 如玻璃杯、 玻璃盏、 玻璃屏风、 玻璃绣球雨灯、 穿衣镜、 水晶灯等, 也有当时欧洲新兴技术产业中的各种产品, 如摆钟、 金怀表、 眼镜、 自行船、 洋布手巾①等, 还有当时欧洲在技术上和规模上都已得到巨大发展的毛纺织和丝织业的产品, 如洋罽、 哆罗呢、 洋缎、 洋绉等, 以及在海外扩张中利用殖民地资源在欧洲生产或直接在欧洲海外殖民地生产基地上生产出来的产品, 如用美洲白银制作的银制日用品, 用美洲烟草生产出来的各种鼻烟, 还有印度殖民地生产的鸦片 ( 膏子药依弗哪) 等②。 这些西洋品在 《红楼梦》 里反复出现, 特别是在当时的欧洲也是极为高档的生活奢侈品的自鸣钟 ( 实为摆钟)、 金怀表、 穿衣镜、 玻璃屏等, 更是在各种不同情境下反复出现。 曹雪芹不惜笔墨, 反复描述贾府生活中的西洋物品, 表现的不仅是对过去生活中西洋品消费的追忆, 更是为了烘托曹家从 “ 赫赫扬扬” “ 鲜花着锦” 之盛到 “ 家业凋零” “ 食尽鸟投林” 之衰的“ 家亡血史” ( 贾、 王、 薛、 史) ③。 用西洋品消费烘托曹家当年之富贵, 这本身也说明了西洋品消费在 18 世纪初的中国是一种代表着身份和地位的“ 炫耀性消费”。

三 中欧贸易扩张及与海外贸易关系密切的曹家

15 世纪末以来, 欧洲在海外殖民扩张中不仅建立了一个欧洲主导的全球贸易体系, 而且还在广大殖民地建立了众多殖民地生产基地。 在新航线不断出现, 贸易范围不断扩大, 贸易品种日益增加, 贸易规模持续增长的欧洲商业革命中, 欧洲消费革命 ( consumer revolution) 亦悄然诞生①。 一方面是大量产品从世界各地流向欧洲, 既有欧洲商人用美洲白银从古老中国和印度进口的大量传统舶来品, 如中国生丝、 丝绸、 茶叶、 瓷器和印度棉布等, 也有欧洲利用殖民地资源开发出来的新产品, 如烟草、 鼻烟、 蔗糖、朗姆酒和巧克力等; 另一方面亚洲奢侈品价格因进口量的巨大上升而大幅下降, 致使普通民众也可以消费那些原来只有上层社会才消费得起的亚洲奢侈品, 如中国的丝绸、 茶叶、 瓷器和印度的棉布等。 与此同时, 欧洲的丝织业、 毛纺织业、 玻璃制造、 机械时钟制作、 银器制造等也都经历了飞跃式发展; 一大批欧洲本土生产的新兴生活奢侈品亦走进欧洲上层社会, 如摆钟、 怀表、 穿衣镜、 水晶玻璃器皿和吊灯等。 而在中国这一边, 16 ～ 18 世纪正是欧洲因美洲白银的获得和日本因新银矿的发现而对中国产品需求急剧增加的时期, 也是大批欧洲人来华寻求贸易, 中外贸易大规模扩大的时期。 1500 ～ 1599 年, 从欧洲到达亚洲的商船数 ( 其中大部分是到中国) 是 770 艘, 1600 ～ 1700 年达 3161 艘, 1700 ～ 1800 年又增至 6661 艘, 数目较 16 世纪增加了近 8 倍。 而船的运载量更是因造船技术的发展而迅速 扩容。 1470 ～ 1780 年, 欧洲商船的运载量增加了 30 多倍, 从 1470 年的 120000 多吨增长到 1780 年的 3856000 吨②。 相对应于欧洲如火如荼的商业革命, 中国这边则是明清十大商帮的兴起、 商品经济的显著发展和全国市场体系的形成。 为此, 一些学者认为 16 ～ 18 世纪的中国也发生了一场 “ 未完成的商业革命”, 更多的学者则称之为 “ 资本主义萌芽” ①。 在中外贸易的大规模扩张中, 各路商帮应运而生, 既有违禁出海, 专门从事将中国货物从中国沿海运销到日本、 雅加达和马尼拉甚至欧洲本土, 并参与中国东南海上贸易霸权竞争的中国海商, 也有不断把内地产品贩运到沿海港口出口或贩货于地区间的诸路商帮。 在出口贸易大规模增长的同时, 不少西方产品亦流入中国, 并受到很多富贵人家的追捧。 曹雪芹笔下的贾府便是其中之一。 曹家发达于 17 世纪下半叶, 从 1663 年曹雪芹曾祖父曹玺被任命为江宁织造起, 到雍正六年正月十五后被抄②, 历经 60余年之昌盛, 而这 60 余年也正是中外贸易大规模扩大, 欧洲产品越来越多地输入中国的时期。 而且, 曹家还是一个与海外贸易有着密切关系的家族。亲戚中既有广东巡抚、 宁波知府, 又有粤海关监督。 曹雪芹祖父曹寅之妻为苏州织造李煦之妹, 李煦曾于 1684 ～ 1688 年任宁波知府, 其父李士桢 1673 年出任福建布政使, 因遇耿精忠叛乱, 滞留浙江, 改任浙江布政使, 后又于1682 ～ 1687 年任广东巡抚; 曹雪芹曾祖母孙氏的侄子孙文成, 在 1706 年任杭州织造之前, 曾于 1703 年担任粤海关监督一年。 而曹公在 《红楼梦》中, 还添了一个与贾政有连襟关系, 专门为内务府采购洋货的皇商———薛家③。 曹家与海外贸易的紧密关系在 《红楼梦》 中也多有反映。 第五十二回“ 俏平儿情掩虾须镯, 勇晴雯病补雀金裘” 中有一段薛宝琴讲她跟父亲出海贸易的描写:

宝琴笑道: ……我八岁时节跟我父亲到西海沿子上买洋货, 谁知有个真真国色①女孩子, 才十五岁, 那脸面就和那西洋画上的美人一样, 也披着黄头发, 打着联垂, 满头带的都是珊瑚、 猫儿眼、 祖母绿这些宝石; 身上穿着金丝织的锁子甲洋锦袄袖; 带着倭刀, 也是镶金嵌宝的, 实在画儿上的也没他好看。 有人说他通中国的诗书, 会讲 《五经》, 能作诗填词。因此我父亲央烦了一位通事官, 烦他写了一张字, 就写的是他作的诗。②

第十六回 “ 贾元春才选凤藻宫, 秦鲸卿夭逝黄泉路” 中, 赵嬷嬷和王熙凤聊起当年太祖皇帝仿舜巡贾府接驾的事 ( 喻当年康熙南巡, 曹寅、 李煦筹备接驾, 曹家四次接驾之事), 凤姐忙接道: 我们王府也预备过一次。 那时我爷爷单管各国进贡朝贺的事, 凡有的外国人来, 都是我们家养活。 粤、 闽、 滇、 浙所有的洋船货物都是我们家的。③

《红楼梦》 中王熙凤和王夫人的娘家原型为苏州织造的李家, 书中王熙凤的父亲, 王夫人的哥哥王子腾的命运也近似于真实历史中的李煦④。 1684 年, 康熙开放海禁, 次年相继在广州、 厦门、 宁波、 云台山四处设关, 其中两关在李家父子的管辖之下。 难怪王熙凤说: “ 粤、 闽、 滇、 浙所有的洋船货物都是我们家的。” 《红楼梦》 第七十一回描写贾母过生日, 收到各方礼物, 特意提到粤海将军邬家送了一架玻璃围屏。 曹寅母亲孙氏是 《红楼梦》 中贾母的原型。孙氏的侄子孙文成曾任粤海关监督一年。 清朝官职中并没有粤海将军, 想是曹公为避政治麻烦, 自拟此职代之。 曹家拥有这样的亲戚关系, 无疑有很多机会接触各种稀贵的西方奢侈品, 以致曹雪芹可以在 《红楼梦》 中信手拈来, 娓娓道出。

四 曹家与欧洲上层社会趋同的欧洲奢侈品消费

《红楼梦》 贾府生活中的西洋产品几乎囊括了当时欧洲所有的高档奢侈品。 下面就几件尤有代表性的西洋奢侈品, 加以比较讨论。 1.自鸣钟 ( 摆钟) 《红楼梦》 中所谓的自鸣钟, 其实是 17 世纪下半叶才开始在欧洲出现的摆钟 ( pendulum clock) , 而不是 16 世纪末和 17 世纪初由意大利传教士罗明坚、 利玛窦等人进献给明朝官员和宫廷的自鸣钟 ( striking clock) 。 《 红楼梦》 第六回 “ 贾宝玉初试云雨情, 刘姥姥一进荣国府” 写道:

刘姥姥只听见咯当咯当的响声, 大有似乎打箩柜筛面的一般, 不免东瞧西望的, 忽见堂屋中柱子上挂着一个匣子, 底下又坠着一个秤砣般一物, 却不住的乱幌。①

这个乱晃的秤砣般的坠物, 显然就是摆钟的摆 ( pendulum)。 第五十八回 “ 杏子阴假凤泣虚凰, 茜纱窗真情揆痴理” 又说: 麝月笑道: “ 提起淘气, 芳官也该打几下。 昨儿是他摆弄了那坠子, 半日就坏了。” ②

这个坠子也是摆钟的摆。 这两段文字描述, 清楚说明凤姐和宝玉住处的所谓自鸣钟, 其实是当时欧洲刚刚兴起不久的摆钟。 欧洲最早的机械钟是14 世纪出现在教堂的塔钟。 塔钟庞大而沉重, 主要为教堂和教徒们遵循时间祷告而用, 并不适用于家庭。 到 1510 年德国锁匠彼得· 亨莱恩 (Peter Henlein) 发明了发条钟 (clock powered by spring mechanism), 便于移动携带, 适用于家庭的时钟才开始出现。 然而发条钟很不精准, 直到17 世纪下半叶摆钟发明, 时钟才出现质的飞跃, 摆钟自此逐渐取代发条钟,

Reference: Zhang Li. 张丽.The Synchronization of Western Luxury Consumption in the House of the Rich and the Rich in the West--Analysis Based on the Examination of the Dream of the Red Chamber[J]. 2021(02):19-45.(中西富贵人家西方奢侈品消费之同步——基于《红楼梦》的考察分析[J].)Marine History Research 海洋史研究,,2021(02):19-45.

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Zhang Can 张粲.(2020), translation and research of a Dream of Red Mansions by Chinese students studying in France in the 1930s 20世纪30年代旅法中国留学生对《红楼梦》的翻译与研究,Studies on Novels in Ming and Qing Dynasties《明清小说研究》,2: 262-276.

Zhang Li. 张丽.The Synchronization of Western Luxury Consumption in the House of the Rich and the Rich in the West--Analysis Based on the Examination of the Dream of the Red Chamber[J]. 2021(02):19-45.(中西富贵人家西方奢侈品消费之同步——基于《红楼梦》的考察分析[J].)Marine History Research 海洋史研究,,2021(02):19-45. Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. Journal of Language Teaching and Research, Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

Zhao Kailun.An analysis of the cultural differences between China and the West in the translation of Chinese classics.Linguistic Research [J]. (216)

Notes

10. Wit and strategic thinking of protagonists

Harro v. Senger: Traum und Nibelungenlied (Kontrast): Siegfried und Krimhild waren unintelligent, ja dumm, da sie kein Bewusstsein für die Gefährlichkeit ihrer Feinde hatten, anders als Wang Xifeng. S. a. die lange Bekanntheit und die lange Anwendung der chinesischen Stratageme im chinesischen Volk.

11. Society novels

Dream and Kazuo Ishiguro’s „Was vom Tage übrig blieb“ are both society novels.

13 Trials and Tribulations of young people

The Dream and Goethe’s Elective Affinities are both love novels, describing the trials and tribulations of young people.

Kommentar Woesler: Traum und Roman „Jenny" von Fanny Lewald. Wenn man Wu, Yenna folgt in der Deutung der Traum-Frauenfiguren: “The Virago: A Literary Theme", Cambridge UP 1995. Wu geht jedoch nicht auf Lewald ein.

16. Buddhism and Taoism

The German-language reader is not unfamiliar with Buddhist and Taoist thoughts, Richard Wilhelm has early translated the Yijing and Herrmann Hesse’s is Siddharta. An Indian Tale, is significantly influenced by Buddhist and Taoist thoughts.

18.

Farben und Farbsymbolismus sehr wichtig (wie auch generell bei Chaucer, Shakespeare und Poe; in den Shakespeare'schen Gedichten und Schauspielen ist grün manchmal die Frabe der Eifersucht usw.)

1. On the Differences between Chinese and Western Religious Cultures in English Translation 1.1 On the Differences between Chinese and Western Religious Cultures in the English Translation of A Dream of Red Mansions ; The differences between Chinese and Western religious cultures can be seen from the first chapter of A Dream of Red Mansions translated by Yang Xianyi and Hawkes.In Yang's translation, the recurring term "Shenxian (in Chinese pinyin)" is translated as "immotals," a Taoist concept that is the highest form of thought, while Hawkes translates it as "salvation," influenced by Christianity, which holds that man is born sinful and must redeem himself from God in order to save mankind. (Zhao Kailun:261). In addition, there are different interpretations of the translation of "Buddha," Yang Xianyi translated "Buddha," while Hawkes translated "Blessed Lord," in Christianity, God is supreme, only God can save the people, bless the people.In Chinese religious culture, Mount Wutai is a sacred place of Buddhism, while "going to Mount Wutai" implies the death of a person in the temple, which is directly translated as "head to Mountain Wutai," and then interpreted as "Mountain Wutai was a holy Buddhist mountain," while Hawkes translated "going to Mount Wutai" as "go to heaven" according to Western Christian culture (Zhao Kailun:261).

19. 红楼梦在英国的流传和研究

The spread and study of "Red Chamber Dreams" in Britain 中英文化交流的历程 The course of Cultural exchange between China and Britain

十七世纪，中英文化交流开始了。英国的诗歌和戏剧中出现了描写中国的作品。 十八世纪，欧洲刮起了一股“中国风”。中国的哲学、艺术，特别是中国的工艺美术、园林设计、室内装饰、陶瓷、纺织品、建筑、绘画，引起了西方人尤其是英国人的极浓厚的兴趣。这一时期有中国的小说和戏剧传入英国，如《好逑传》和《赵氏孤儿》。 十九世纪是中英两国文化交流迅速发展的时期。基督教传教士在中国建立学校和印刷厂，中国出现了一大批西方社会科学和文学作品的翻译家及翻译著作。1876年，中国正式派遣外交使节郭嵩寿出使英国。在中英文化交流日益发展的大背景下，曹雪芹的《红楼梦》开始流传到了英国。当时的英国学者只摘译了《红楼梦》的片段，当时其主要目的是为英国人学习中国官话提供教科书，并非是为了从文学上阅读欣赏《红楼梦》。 从1830年到二十世纪七十年代，《红楼梦》的英译本都是摘译本和节译本。1973年，英国企鹅出版社出版了前牛津大学讲座教授大卫·霍克斯翻译的八十回全译本《红楼梦》。

In the 17th century, cultural exchanges between China and Britain began. In English poetry and plays, works describing China appeared.（Hu,1990:95）

In the 18th century, there was a "China fever" in Europe. Chinese philosophy and art, especially Chinese arts and crafts, garden design, interior decoration, ceramics, textiles, architecture and painting, have aroused great interest from westerners, especially the British. During this period, Chinese novels and plays, such as Hao Qiu Zhuan and The Orphan of Zhao, were introduced to England.（Hu,1990:96）

The 19th century witnessed the rapid development of cultural exchanges between China and Britain. Christian missionaries established schools and printing houses in China, and a large number of translators and translated works of western social sciences and literature appeared in China. In 1876, China officially sent guo Songshou as a diplomatic envoy to Britain. Cao Xueqin's "Red Chamber Dreams" began to spread to Britain under the background of the growing cultural exchanges between China and Britain. At that time, British scholars only extracted and translated fragments of "Red Chamber Dreams", and its main purpose was to provide textbooks for the English to learn Chinese mandarin, not to read and appreciate the dream of Red Mansions from the literary perspective.（Hu,1990:96-97）

From 1830 to the 1970s, the English versions of "Red Chamber Dreams" were all excerpts. In 1973, Penguin published the full translation of A Dream of Red Mansions by former Oxford University professor David Hawkes.（Hu,1990:98）

Reference：Hu Wenbin.胡文彬(1990) The Spread and Research of "Red Chamber Dreams" in Britain: A Great Work from the East [J]. 从东方来的巨著——《红楼梦》在英国的流传与研究 Knowledge of Culture and History 文史知识 2:95-101.

英国人眼里的《红楼梦》 "Red Chamber Dreams" in British Eyes

自十九世纪三十年代《红楼梦》传入英国开始，英国的汉学家中有人写文章介绍《红楼梦》，例如1842年卡尔·居茨拉夫认为“《红楼梦》不过是一部妇女闺阁琐事杂录，情节毫无兴味可言，叙述又冗长，令人生厌。”二十世纪初开始，英国汉学家写的《红楼梦》评论文章多起来了，虽然难以了解其具体内容，但是从二十世纪以来英国出版的各种大百科全书对《红楼梦》的评价，可以看出英国汉学家对《红楼梦》的认识和研究水平。如第11版“《红楼梦》是一部非常高级的作品。、、、、、、小说包含的事件，使人想起菲尔丁小说，往往表露无遗，而不像现代心理小说只作隐晦的暗示。”第14版：“十八世纪小说《红楼梦》，讲的是一个伤感的有着深刻的心理描写的故事，背景是一个大家庭和它的逐渐衰败的命运。曹霑逝世时，小说尚未结束，由高鹗续成。小说两主角之一伤逝时赚人的眼泪，至少不亚于前此塞谬尔·理查逊所写的《帕美拉》”。七十年代英国出版的《大条目百科全书》：“中国十八世纪的小说，其题材与技巧的丰富多彩，不亚于欧洲，既有社会讽刺，骑士的罗曼史，也有冒险故事。曹雪芹所写的《红楼梦》的特色，相似于高尔斯华妥的《福尔赛世家》和托马斯·曼的《布登勃洛克一家》。这是一个大家庭衰败的故事，并夹杂着爱情的纠纷，充满着悲凉的情调。”

Since "Red Chamber Dreams" was introduced to Britain in the 1830s, Some British Sinologists wrote articles to introduce it. For example, In 1842, Carl Gutzlaff thought that "Red Chamber Dreams" is nothing more than a miscellany of women's trifles, with no interesting plot and tedious narration. Since the beginning of the 20th century, British Sinologists have written more critical articles on it. Although it is difficult to know the specific contents, the evaluation of A Dream of Red Mansions by various encyclopedias published in the UK since the 20th century shows the understanding and research level of British Sinologists on the dream of Red Mansions. The 11th edition wrote "A Dream of Red Mansions is a very advanced work. 、、、、、、 novels contain events that are reminiscent of Fielding novels and tend to be explicit rather than implicit, as modern psychological novels do." The 14th edition: "A Dream of red Mansions, an eighteenth-century novel, is a sad and deeply psychological story set against the backdrop of a large family and its declining fortunes. When Cao Jame died, the novel was completed by Gao E. When one of the two main characters dies, it brings tears to our eyes at least as much as Samuel Richardson's Pamela. Encyclopedia of Big Entries, published in the UK in the 1970s: "Chinese eighteen-century novels are no less varied in subject matter and technique than those of Europe, ranging from social satire, chivalric romance to adventure stories. Cao Xueqin's A Dream of Red Mansions has characteristics similar to Galswalt's The Forsyte Family and Thomas Mann's The Budenbrock Family. It is a story of the decline of a large family, mixed with love disputes, and full of sad sentiment."（Hu,1990:100-101）

20. Proust is the forerunner and master of French stream of consciousness literature. Since his childhood, he was sensitive and full of fantasy. His masterpiece is In Search of Lost Time.(La Recherche du Temps Perdu) presents a picture of upper-class life in France in the late 19th and early 20th centuries with "I" as its subject Picture.

21. 《红楼梦》人物服饰--中国古代服饰文化的缩影 Costumes of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture

摘要：中国著名的古典小说《红楼梦》蕴藏了大量有关服饰文化方面的内容，是我们研究中国古代明末清初服饰特征、 形制及文化内涵的重要素材，具有很好的历史价值和现代审美价值。为此，本文通过对《红楼梦》中主要人物服饰的分 析，探索传统服饰文化的特有的文化内涵和艺术魅力。 关键词：《红楼梦》；人物服饰；文化内涵

Abstract: "Red Chamber Dreams" , a famous Chinese classical novel, contains a great deal of content about costume culture, which is an important material for us to study the characteristics, shape and cultural connotation of costume in the late Ming and early Qing dynasties of ancient China. It has great historical value and modern aesthetic value. Therefore, this paper explores the unique cultural connotation and artistic charm of traditional costume culture by analyzing the costumes of the main characters in A Dream of Red Mansions . (Cui 2004:111)

Key words: "Red Chamber Dreams"; Character costumes; Cultural connotation

1.《红楼梦》人物服饰体现了当时的人物个性审美特征 《红楼梦》中人物多达400多人，仅以织品和绣品为例就多达50种、1949件。服饰形态更是丰富多彩、 各富个性、鲜艳而有趣又有情的色彩、精美繁复的制作工艺、逼真详实的图案纹样，并且从中体味出浓浓的视覚审美的意境，从”金陵十二钗各自不同的美貌和神韵的自然美与妆饰美的对比统一、从长裙短袄的 形式美观念、从"红袄绿裙”的色彩匹配观等发掘出原本深深地蕴藏在小说字里行间的传统服饰的美学理念，进 而充分地理解古老的中国服饰文化的博大精深和源流关系。

1. The Costumes of the Characters in "Red Chamber Dreams"; reflect the Individual Aesthetic Characteristics of the Characters at that Time (Cui 2004:111)

There are more than 400 characters in "Red Chamber Dreams", and there are 1,949 pieces in 50 kinds of textiles and embroideries alone. The costume form is more colorful, individual, bright and interesting and affectionate colors, the exquisite and complicated production process, the lifelike and detailed pattern. From "Jinling twelve women of different natural beauty of the beauty and charm" 'compared with ornaments of beautiful unity, from' skirt short coat 'aesthetic concept, from the "green dress" red coat color matching and unearthed originally is deeply in the novel between the lines of traditional costume aesthetic concept, in the full understanding of ancient Chinese costume culture and profound and origin relations.(Cui 2004:112)

2.《红楼梦》人物服饰传达着一种情绪

《红楼梦》人物服饰文化内涵是和中国传统哲学和美学思想文化一脉相承的，其中服饰衣冠文化是汉民族 和满族交融的一种折射符号，具有某种哲学因素和艺术审美方面的代表意义，其寓意是很丰富的。《红楼梦》 中的人物形态同样在向我们传递着这样的信息和符号，贾宝玉”翩翩"公子的风度、王熙凤”神仙妃子”的高 贵气质、林黛玉的柔弱美、薛宝钗的典雅美等各种不同审美形态融入小说描写的特定的事件发展过程中，自 然贴切。这种符号成为审美氛围中不可分割的组成部分且在向人们传达一种富有哲理的信息，使得《红楼梦》服 饰审美渗入了古典哲学和传统艺术的”意境”学说，表现于人物服饰的描写十分周详，造型、色彩、线条、图案、 装饰方面符合传统形式美规律的运用，并能够注重材质本身的结构美、肌理美和功能美，而这些外在形式所抒发 或隐喻或折射出某种朦胧的情感、情趣或传达的一种情绪，这种情感和情绪进一步深化了服饰文化的内涵。

2.The Costumes of the Characters in A Dream of Red Mansions Convey a Mood

The cultural connotation of costume of characters in "Red Chamber Dreams" is consistent with traditional Chinese philosophy and aesthetic culture, among which costume culture is a reflection symbol of the integration of Han and Manchu, which has some philosophical factors and artistic aesthetic representative significance, and its implication is very rich. Form of characters in a dream of red mansions is convey to us the same information and symbol, jia baoyu "and" childe manner, high search "fairy princess" your temperament, soft beauty of Lin daiyu, xue baochai is the elegant beauty of various aesthetic forms into the novel depicts the development of specific events, the since the apt. This symbol aesthetic atmosphere in which shall form an integral part of and in a philosophical message to people, make a dream of red mansions clothing aesthetic infiltration of classical philosophy and traditional art act the role of "artistic conception" theory, performance in the description of the garments is very thorough, modelling, colour, line, pattern, decoration aspects in accordance with the use of traditional law of formal beauty, Besides, it can pay attention to the structural beauty, texture beauty and functional beauty of the material itself, while these external forms express or metaphorically reflect some vague emotion, interest or a mood conveyed, which further deepens the connotation of clothing culture. (Cui 2004:112-113)

Reference: Cui Rongrong. Costume of Characters in "Red Chamber Dreams" -- the Epitome of Chinese Ancient Costume Culture[J]. Journal of Wuhan University of Science and Engineering,2004,(06):111-113+116.(崔荣荣.《红楼梦》人物服饰--中国古代服饰文化的缩影[J]. 武汉科技学院学报，2004,(06):111-113+116.)

Feng Quangong

Feng Quangong, a translation expert documented parts of the reception of the English opera version of the, which premiered in September 2016 at San Francisco Opera House. He describes the first performance before its premier and the the critiques. The early reception was basically positive and focuses on the introduction of the original novel, the plot, the creative team, the creation of the background, the introduction of the cast etc. The subsequent comments generally affirm the aesthetic value of the opera and the role of cultural communication, and mostly appreciate the creative team and the opera performers. However, there was also a lot of criticism, such as the relatively simple plot of the opera, the lack of authentic script language, the lack of development of characters in the first act and the lack of tension of the whole. The adaptation was quite successful. Feng names as success factors: informal communication, emphasis on fine works, an increase of propaganda efforts, and a focus on moderate hybridity.

New York Times

节选（excerpts）： 2016 年 9 月 9 日，《纽约时报》发布了一则题为“美国歌剧公司改编中国的‘战争与和平’”的新闻②，聚焦于首演前歌剧面临的抵制、创作背景介绍、创作团队介绍以及剧情介绍等。文章最后还提到歌剧将于 2017 年 3 月份在香港演出，届时将会面临更加强硬与挑剔、也更加熟悉小说内容的观众。盛宗亮看起来也并不因此而烦恼，他说，“如果问 10 位红学家这部小说到底讲的是什么，你将会得到 10 种不同的答案，如果有谁问我的话，我会说讲的就是一个三角恋爱的故事”。面对外界的质疑，盛宗亮的表现还是很自信的。（ "Feng 2017:131-132"）（原文）

On September 9, 2016, The New York Times published a story---An American Opera Company Adapts China's "War and Peace" （footnote②: https: / /www． nytimes． com/2016 /09 /10 /arts/music /san-francisco-opera-dream-of-the-red- chamber． html( 2017 － 07 － 25)）. The article focused on the resistance the opera faced before its premiere, introduced the background of the production, the production team, and the story. Finally, it mentioned that the opera will be performed in Hong Kong in March 2017. There it will face tougher and more critical reception by an audience more familiar with the novel content. Sheng Zongliang is not nervous about that, he said;““If you ask 10 different Redologists what the novel is about, they would give you 10 different answers,” he said. “And if anyone asks me what this opera is about, I’ll say it’s a story of a love triangle. That’s it.” Sheng Zongliang's expresses confidence to meet global challenges.（译文）

Reference： An American Opera Company Adapts China's "War and Peace"[J].The New York Times',September 12, 2016. 冯全功 徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,131-132

Mercury News

2016 年 9 月 11 日，“水星新闻”网( Mercury News) 发布了一则评论，题为“旧金山歌剧院首演迷人的《红楼梦》”①，其中对曹青( 黛玉) 的赞美溢于言表，称其表演令人痴迷，独自站在小船上的场景( 泰然、幽静，又伴以迷人的音乐) 尤令人难忘，不过这也只是盛宗亮这部歌剧中很多令人震撼的剧照之一。作者还特意提到，黛玉开始坐的小船在最后时刻又出现了，前前后后发生了很多事情，物是人非，爱情已逝，贾家财运一去不复返，究竟是到头一梦，万境归空，此评论对歌剧主题的把握比较到位。（"Feng 2017:133"）

On September 11, 2016, In a review headlined "Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”" ,（footnote①：http: / /www． mercurynews． com/2016 /09 /11 /cct-chamberrev-0912 /） Mercury News was full of praise for Cao Qing (Dai Yu), calling her performance mesmerizing, a scene of standing alone in a boat (calm and secluded, set to enchanting music) particularly impressive. However, this was just one of the most stunning pictures of this opera directed by Sheng Zongliang. The author also specially mentioned,Randall Nakano, in the nonsinging role of the Monk, eloquently delivers the opera’s abiding message about reality, illusion and destiny. And that early, shining image of the boat on the river returns in the production’s touching final moments. Much has changed since that first scene: lives lost, love spent, fortunes come and gone. It’s all part of the dream. This comment on the main theme of the opera is on target.

Reference

GEORGIA ROWE."Review: S.F. Opera premieres enchanting “Dream of the Red Chamber”"[J].'Mercury News',September 11, 2016. 冯全功 徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

San Francisco Examiner

2016 年 9 月 11 日，“旧金山观察家”(San Francisco Examiner)网发布一则新闻，题为“旧金山歌剧院的繁华梦: 跨越障碍，沟通中西”②，开篇说把《红楼梦》改编为英语歌剧既不能让亚洲文学学者高兴，又不能让西方歌剧纯粹主义者高兴，这似乎是命中注定的。但创作团队打消了这种观点，把小说的核心内容转化为旧金山歌剧院令人满意的世界首演。作者认为创作团队聚焦于引人入胜的三角恋爱与王朝阴谋是很明智的，叶锦添隐喻化的舞美设计为歌剧增添了很多精彩的视觉元素。随后对几位主要演员进行了述评，但对歌剧在跨越中西障碍方面的作用与表现并没有太多论述，与新闻题目不甚相符。（"Feng 2017:133"）

On September 11, 2016, the San Francisco Examiner website published a report entitled "SF Opera bridges East-West divide in lush ‘Dream’（footnote②：http: / /www． sfexaminer． com/ sf-opera-bridges-east-west-divide-in-lush-dreamsf-opera-bridges-east-west-divide-in-lush-dream/）, the opening said the dream of the red chamber Adapted to English opera can neither make Asian literature scholars happy, also can't let the western opera purists, this seems to be doomed But creative team from this view, the core content of the novel into San Francisco opera house satisfying world premiere The author thinks that creative team focused on absorbing a love triangle with dynasty conspiracy is wise, the choreography of Tim yip metaphor for opera a lot of wonderful visual elements Then has carried on the review to several main actor, but the opera across barriers of Chinese and western of the role of and the performance is not too much, not very consistent with the news title.

Reference

• SF Opera bridges East-West divide in lush ‘Dream’[J].San Francisco Examiner, September 12, 2016.
• 冯全功 徐雪飞. 旧金山英文版歌剧《红楼梦》的推介与接受———基于相关网络资源的分析[J].《曹雪芹研究》2018 年第 3 期,133

Comment by mw: here you need to find out the English original of the quote. Also, you need to indicate and translate the footnotes in details.

• SFOpera https://www.sfopera.com/redchamber

• N.Y.TIMES ‘Dream of the Red Chamber’ and Other Sleep ... - The New York Times

https://www.nytimes.com/2014/05/17/arts/dream-of-the-red-chamber-and-other-sleep-oriented-shows.html#:~:text=Spectators%20rest%20as%20performers%20play%20cards%20in%20%E2%80%9CDream,said.%20Michael%20Appleton%20for%20The%20New%20York%20Times

• An American Opera Company Adapts China’s ‘War and Peace’ - The New York ...

https://www.nytimes.com/2016/09/10/arts/music/san-francisco-opera-dream-of-the-red-chamber.html

• LOS ANGELES TIMES https://www.latimes.com/entertainment/arts/la-et-cm-red-chamber-opera-review-20160910-snap-story.html

• 盛宗亮: Bright SHENG

• LIBRARIES Responses to the Opera Premiere https://open.lib.umn.edu/redchamber/chapter/responses-to-the-opera-premiere/

Love

1. Comparison of Love Value 1.1 Similarities The pursuit of equal and free love is the common emotion in A Dream of Red Mansions and Romeo and Juliet.(Wang Cong.2018(11):36) 1.2 Difference 1.2.1 Difference between Chinese and Western Cultural Background In the aspect of emotional expression, China traditional culture and western culture have distinct differences.In China classical poetry, there are very few sentences like "I love you" that express one's feelings directly, usually through intention or some specific scenes to express emotions indirectly.Westerners are more courageous and direct in expressing their emotions than Chinese people. (Wang Cong.2018(11):37) 1.2.2 The Character Differences of Protagonists

Character Analysis of Bad-yu and Lin Daiyu: Lin Daiyu is a self-abased and shy girl with changable emotions.Lin Daiyu in the emotional disputes always appears unreasonable ,cranky and suspicious,Jia baoyu is a sentimental man with feminine temperament. In Romeo and Juliet  ,the characters of these two people very close. They persistently and firmly stick to pursue their  love.They also have the courage to boldly show their feelings, the courage to pursue their own happiness. Romeo is courageous and persistent. The temper of Juliet's have changed after she met the one. (Wang Cong.2018(11):38)

1.2.3 The ultimate tragedy caused by different reasons On the surface are from the family, but from a deeper perspective but analysis can be seen is mainly due to the treasure, Diane and the idea of all is not consistent, makes them become the heterogeneous in the eyes of others, their emotional nature also won't get the support of others. Romeo and Juliet in the emotional development and the development characteristics of the Renaissance is close, so the work is permeated with optimistic clear color, freedom, bold and unrestrained became the period of western literature in the concept of love, marriage, the distinctive characteristics. （Wang Cong.2018(11):39）

Reference：

Wang Cong (2018). A Comparison of Love Views in A Dream of Red Mansions and Romeo and Juliet.Journal of Huaihai Institute of Technology (Humanities and Social Sciences Edition)(11)

Sun

1.1.1 Physical Features The description about Xue Baochai: She is fair-skinned, plump, often compared to "elegant peony" and "the downfall of Yang Guifei". The description about Melanie: She is plain in apprearance and short in stature, but she has a kind of refined and dignified manner, her gesture are full of strange charms."Like Lin Daiyu, Melanie is "fragile,""as thin as a wooden stick. She can be blown down with one breath, without any color in her cheek." （Sun Fengmin.2015(8): 36） 1.1.2 Conduct Oneself in Society "A woman without talent is a virtue," and Melanie dares to speak her thoughts. Xue Baochai was marked by some words, such as"the Sophisticated,""Innocent,""Good at catering the superiors." Melanie is as good as water, simple and kind, dare to contribution Xue Baochai pursued the Confucian doctrine of the mean, Melanie kind, generous, honest, honest, always pay attention to the strengths of others.（Sun Fengmin.2015(8): 37） 1.1.3 Differences between China and the West The sacrifice of Xue Baochai, a representative of traditional China characters, shows that the birth of new ideas and new forces must be at the expense of others. Although Melanie is "dead" in physical, she is still "alive"in our mental. Her personal spirit is still there. Such spiritual strength gives the living people the motivation to move forward.(Sun Fengmin.2015(8): 37）