By engaging with this for leisure, might one not save some of one's life-energy? 玩一玩这个,不是也能节省一些精力吗?
红楼梦, Chapter 1
Last time we left the stone 石头 (shítou) after it had transformed itself into a jade 玉 (yù) fan-pendant, 扇坠 (shànzhuì).1
It had transformed itself in order to make itself attractive to a monk and a Daoist (一僧一道). The stone wished to be taken to the human world. The monk complied. He slipped the fan-pendant into his sleeve and took it with him.
A long time passed…
One day another Daoist named 空空道人 (Kōngkōng Dàorén) saw the stone standing somewhere below the peak of the mountain (Greensickness Peak).
The same stone was standing roughly where it had stood before and again we have a Daoist passer-by interacting with it.
There’s one important difference. Time has produced a story. Inscribed into the stone is the story we are reading: “The Story of the Stone.”
空空道人 (translated by David Hawkes as Vanitas and by ChatGPT 4.0 as Monk of the Void) reads the story and is unimpressed. He tells his criticism to the stone. He criticises that the story is not connected to a specific dynastic period and that it lacks a central message of morality or statesmanship.
The stone is unimpressed by the monk’s criticism of its story. It criticises the monk’s taste and sense of literary quality. The usual Han or Tang period settings of other works are artificial. This story carved on stone is beyond such stale conventions. The stone delivers a sweeping criticism of conventional taste. So-called historical romances are excuses to perpetuate scandalous anecdotes about long-dead individuals. And romantic novels are full of stereotypes and mechanical storylines.
In contrast, argues the stone, the characters in its/his story are based on a lifetime of study with its/his own eyes and ears. These characters may not be better people than the people who appear in other books, but “the contemplation of their actions and motives may prove a more effective antidote to boredom and melancholy…”2
The stone then expresses the aims of its story, giving us the text for this instalment.
My only wish is that men in the world below may sometimes pick up this tale when they are recovering from sleep or drunkenness, or when they wish to escape from business worries or a fit in the dumps, and in doing so find not only mental refreshment but even perhaps, if they will heed its lesson and abandon their vain and frivolous pursuits, some small arrest in the deterioration of their vital forces. What does your reference say to that?3
I think this is an excellent passage to focus on. Literature provides us with opportunities to refresh our spirits.4 It is easy to forget the simple pleasure of reading simply for refreshment.
Here’s the original.
所以我这一段故事,也不愿世人称奇道妙,也不定要世人喜悦检读,【甲侧: 转得更好。甲眉:开卷一篇立意,真打破历来小说巢臼。阅其笔则是《庄子》《离骚》 之亚。斯亦太过。】只愿他们当那醉淫饱卧之时,或避世去愁之际,把此一玩, 岂不省了些寿命筋力?就比那谋虚逐妄,却也省了口舌是非之害,腿脚奔忙 之苦。再者,亦令世人换新眼目,不比那些胡牵乱扯,忽离忽遇,满纸才人 淑女、子建文君、红娘小玉等通共熟套之旧稿。我师意为何如?”【甲侧:余代 空空道人答曰:“不独破愁醒盹,且有大益。”】
Note that the title of this post is a modern Mandarin version of the phrase marked in bold.
Passage Breakdown with ChatGPT 4.0
所以我这一段故事,也不愿世人称奇道妙,也不定要世人喜悦检读,
所以 (suǒyǐ): therefore
这一段故事 (zhè yī duàn gùshì): this part of the story
也不愿 (yě bù yuàn): also do not wish
世人 (shìrén): people/the world
称奇道妙 (chēng qí dào miào): marvel at its strangeness and wonder
也不定要 (yě bù dìng yào): also not necessarily want
喜悦 (xǐyuè): joy
检读 (jiǎndú): to examine and read
Translation & Analysis: Therefore, I do not wish for people to marvel at this part of the story for its strangeness or wonder, nor do I necessarily seek their joy in examining and reading it.
【甲侧:转得更好。甲眉:开卷一篇立意,真打破历来小说巢臼。阅其笔则是《庄子》《离骚》之亚。斯亦太过。】
This part includes literary commentary, comparing the novel's qualities to classical works and indicating its innovative nature.
转得更好 (zhuǎn dé gèng hǎo): can be turned to even better uses5
开卷一篇立意 (kāi juàn yī piān lì yì): upon opening a volume, the purpose is established
真打破历来小说巢臼 (zhēn dǎpò lìlái xiǎoshuō cháojù): truly breaks the mold of traditional novels
阅其笔则是《庄子》《离骚》之亚 (yuè qí bǐ zé shì Zhuāngzi Lísāo zhī yà): reading its writing is second only to Zhuangzi and Lisao
斯亦太过 (sī yì tài guò): this is also too much
Translation & Analysis: [Marginal note: The transition could be better. Another note: From the very opening, it sets a purpose that truly breaks the traditional novelistic mold. In its writing, it is second only to Zhuangzi and Lisao, though this praise might be excessive.]
只愿他们当那醉淫饱卧之时,或避世去愁之际,把此一玩,岂不省了些寿命筋力?6
只愿 (zhǐ yuàn): only hope
当那 (dāng nà): during
醉淫饱卧 (zuì yín bǎo wò): drunken indulgence and satiated slumber
或 (huò): or
避世去愁 (bì shì qù chóu): escape from the world to alleviate sorrow
把此一玩 (bǎ cǐ yī wán): to play with this (referring to the book)
岂不省了些寿命筋力 (qǐ bù shěng le xiē shòumìng jīnlì): wouldn't it save some life's energy?
Translation & Analysis: I only hope that during their times of drunken indulgence or when seeking to escape worldly sorrows, they might entertain themselves with this work. Would it not save some of their life's energy?
就比那谋虚逐妄,却也省了口舌是非之害,腿脚奔忙之苦。
就比那 (jiù bǐ nà): compared to
谋虚逐妄 (móu xū zhú wàng): chasing after illusions
却也省了 (què yě shěng le): yet also saves
口舌是非 (kǒushé shìfēi): gossip and dispute
腿脚奔忙 (tuǐjiǎo bēnmáng): the hustle of running around
Translation & Analysis: Compared to chasing illusions, it also saves one from the harm of gossip and the toil of hustling around.
再者,亦令世人换新眼目,不比那些胡牵乱扯,忽离忽遇,满纸才人淑女、子建文君、红娘小玉等通共熟套之旧稿。我师意为何如?
再者 (zàizhě): furthermore
亦 (yì): also
令世人换新眼目 (lìng shìrén huàn xīn yǎnmù): makes people see with new eyes
不比 (bù bǐ): not like
胡牵乱扯 (hú qiān luàn chě): absurdly dragging and pulling
忽离忽遇 (hū lí hū yù): suddenly leaving and meeting
满纸才人淑女、子建文君、红娘小玉等通共熟套之旧稿7 (mǎn zhǐ cáirén shūnǚ, Zǐ Jiàn Wén Jūn, Hóng Niáng Xiǎo Yù děng tōng gòng shú tào zhī jiù gǎo): full of clichéd stories of talented men and virtuous women, Zi Jian, Wen Jun, Hong Niang, Xiao Yu, etc.
Translation & Analysis: Furthermore, it also allows people to see with new eyes, unlike those clichéd tales of absurd connections and sudden encounters, filled with stock characters like talented men, virtuous women, Zi Jian, Wen Jun, Hong Niang, Xiao Yu, and the like. What do you think of my teacher's intention?
What happens next?
The stone makes a strong case for its story. What is the monk’s reaction? Well, the lines between stone, monk, critic, author, compiler, editor begin to blur…
空空道人听如此说,思忖半晌,将《石头记》【甲侧:本名。】再检阅一 遍,【甲侧:这空空道人也太小心了,想亦世之一腐儒耳。】因见上面虽有些指奸 责佞贬恶诛邪之语,【甲侧:亦断不可少。】亦非伤时骂世之旨,【甲侧:要紧句。 】及至君仁臣良父慈子孝,凡伦常所关之处,皆是称功颂德,眷眷无穷,实 非别书之可比。虽其中大旨谈情,亦不过实录其事,又非假拟妄称,【甲侧: 要紧句。】一味淫邀艳约、私订偷盟之可比。因毫不干涉时世,【甲侧:要紧句。 】方从头至尾抄录回来,问世传奇。从此空空道人因空见色,由色生情,传 情入色,自色悟空,遂易名为情僧,改《石头记》为《情僧录》。至吴玉峰题 曰《红楼梦》。东鲁孔梅溪则题曰《风月宝鉴》。【甲眉:雪芹旧有《风月宝鉴》 之书,乃其弟棠村序也。今棠村已逝,余睹新怀旧,故仍因之。】后因曹雪芹于悼红 轩中披阅十载,增删五次,纂成目录,分出章回,则题曰《金陵十二钗》。并 题一绝云: 满纸荒唐言,一把辛酸泪! 都云作者痴,谁解其中味?【甲夹:此是第一首标题诗。】 【甲眉:若云雪芹披阅增删,然则开卷至此这一篇楔子又系谁撰?足见作者之笔, 狡猾之甚。后文如此者不少。这正是作者用画家烟云模糊处,观者万不可被作者瞒蔽 了去,方是巨眼。 能解者方有辛酸之泪,哭成此书。壬午除夕。 书未成,芹为泪尽 而逝。余尝哭芹,泪亦待尽。每意觅青埂峰再问石兄,奈不遇癞头和尚何!怅怅!今而 后,惟愿造化主再出一芹一脂,是书何幸,余二人亦大快遂心于九泉矣。甲申八月泪 笔。】
Upon hearing this, 空空道人 (Kōngkōng Dàorén) thought for a long while and then reviewed "石头记" (Shítóu Jì) once again. [Marginal note: The original title (本名, Běn míng).] [Marginal note: This Monk Kongkong is perhaps too careful, thought to be one of the world's pedantic scholars] Because he saw that although there are some words pointing out treachery, denouncing flattery, condemning evil, and punishing wickedness, [Marginal note: Also absolutely necessary] it is also not aimed at lamenting the times or cursing the world, [Marginal note: Important sentence] and when it comes to benevolent rulers, good officials, kind fathers, and filial sons, in all matters related to ethics and morality, it is all about praising achievements and virtues, endlessly, truly incomparable to other books. Even though its main theme discusses love, it merely records the truth, not falsely fabricating or claiming, [Marginal note: Important sentence] and cannot be compared to those solely focused on illicit seductions and secret pacts. Since it does not interfere with the affairs of the times, [Marginal note: Important sentence] it was transcribed from beginning to end, becoming a legendary tale. Henceforth, 空空道人 (Kōngkōng Dàorén), seeing form in emptiness and emotions arising from form, conveying emotions through form, and from form understanding emptiness, subsequently renamed himself as the 情僧 (Qíng Sēng), changing "石头记" (Shítóu Jì) to "情僧录" (Qíng Sēng Lù). 吴玉峰 (Wú Yùfēng) titled it "红楼梦" (Hónglóu Mèng). 东鲁孔梅溪 (Dōnglǔ Kǒng Méixī) then called it "风月宝鉴" (Fēngyuè Bǎojiàn). [Marginal note: Cao Xueqin originally had the book "Precious Mirror of Romantic Life" (风月宝鉴, Fēngyuè Bǎojiàn), which was prefaced by his brother Tangcun (棠村, Tángcūn). Now that Tangcun has passed away, I, feeling nostalgia for the new amidst the old, therefore stick to it] Later, as 曹雪芹 (Cáo Xuěqín) spent ten years in the Mourning for the Red Pavilion, revising it five times, compiling the catalog, and dividing it into chapters and volumes, he titled it "金陵十二钗" (Jīnlíng Shí'èr Chāi). And composed a verse saying:
"Full of nonsensical words, a handful of bitter tears! Everyone says the author is foolish, who can understand the underlying taste?" [Marginal note: This is the first title poem.]
[Marginal note: If it's said that Cao Xueqin revised it, then who wrote this introductory chapter up to here? It clearly shows the cunning of the author's pen. Such instances are not few in the later text. This is precisely the author's technique of using vague expressions like a painter's misty clouds, and readers must not be deceived by the author, which is the sign of a true discerning eye. Only those who can understand will shed bitter tears, completing this book. On the eve of Renwu. The book was unfinished, and Cao Xueqin passed away from exhaustion of tears. I have often wept for Cao Xueqin, my tears nearly exhausted too. I always wanted to ask Brother Shi again at Qinggeng Peak, alas, not meeting the bald-headed monk! How regrettable! From now on, I only wish that the Creator would produce another Cao, another Zhi; how fortunate would this book be, and we two would also be greatly satisfied in the netherworld. Written with tears in August of the year Jiashen.]
Interesting Phrases from the Monk’s Reaction, chosen by ChatGPT 4.0
1. 指奸责佞贬恶诛邪之语 (zhǐ jiān zé nìng biǎn è zhū xié zhī yǔ)
Explanation: Language that points out treachery, denounces flattery, condemns evil, and punishes wickedness.
Modern Chinese: 批评奸诈、责备奉承、谴责恶行和惩罚邪恶的话语 (pīpíng jiānzhà, zébèi fèngchéng, qiǎnzé èxíng hé chéngfá xié'è de huàyǔ)
Translation: "Words that criticize treachery, rebuke flattery, condemn evil acts, and punish wickedness."
2. 亦非伤时骂世之旨 (yì fēi shāng shí mà shì zhī zhǐ)
Explanation: Also not aimed at lamenting the times or cursing the world.
Modern Chinese: 也不是为了抱怨时代或诅咒世界 (yě bùshì wèile bàoyuán shídài huò zǔzhòu shìjiè)
Translation: "Nor is it to lament the times or curse the world."
3. 凡伦常所关之处,皆是称功颂德 (fán lúncháng suǒ guān zhī chù, jiē shì chēng gōng sòng dé)
Explanation: In all matters related to ethics and morality, it praises achievements and virtues.
Modern Chinese: 在所有关于伦理道德的方面,都是赞扬功绩和美德 (zài suǒyǒu guānyú lúnlǐ dàodé de fāngmiàn, dōu shì zànyáng gōngjì hé měidé)
Translation: "In all aspects concerning ethics and morality, it praises accomplishments and virtues."
4. 实非别书之可比 (shí fēi bié shū zhī kě bǐ)
Explanation: Truly incomparable to other books.
Modern Chinese: 真的不能与其他书籍相比 (zhēn de bùnéng yǔ qítā shūjí xiāngbǐ)
Translation: "Truly cannot be compared with other books."
5. 毫不干涉时世 (háo bù gānshè shíshì)
Explanation: Does not interfere with the affairs of the times.
Modern Chinese: 完全不干预时代的事务 (wánquán bù gānyù shídài de shìwù)
Translation: "Completely does not intervene in the affairs of the times."
6. 传情入色,自色悟空 (chuán qíng rù sè, zì sè wù kōng)
Explanation: Through colors, emotions are conveyed, and from colors, emptiness is understood.
Modern Chinese: 通过色彩表达情感,从色彩中理解空无 (tōngguò sècǎi biǎodá qínggǎn, cóng sècǎi zhōng lǐjiě kōngwú)
Translation: "Through colors, emotions are expressed, and from these colors, emptiness is realized."
The story is alive. As we read we become the monk talking to the stone. The stone in turn is a part of its own story. We become absorbed by the story while we absorb it.
Though not the original doesn’t necessarily mention a fan-pendant…
translation: David Hawkes
In this specific context, where the narrative and its reception are being discussed, the comment "转得更好" (zhuǎn dé gèng hǎo) can be understood as a reflective or evaluative remark on the potential for the story's interpretation, application, or narrative approach to be improved or optimized. Here's a deeper analysis based on the surrounding text:
Contextual Overview: The passage expresses a modest intention behind the storytelling, highlighting that the author does not seek mere admiration for novelty or universal pleasure from readers. Instead, there's an aspiration that the story serves a more profound purpose during moments of leisure or escape from worldly troubles, suggesting that engaging with the story could be more beneficial than pursuing vain or frivolous activities.
Interpreting "转得更好": Within this reflective passage, "转得更好" might imply that:
The story's value or impact could be enhanced or seen in a more favorable light ("转" implying change or transformation, "得更好" meaning for the better). This suggests an openness to reinterpretation or a different approach that could make the story even more meaningful or impactful.
It could also indicate a belief in the story's potential to be leveraged in a way that is more beneficial or enlightening for readers, perhaps by encouraging them to reflect deeper on life, morality, or society.
Relation to the Broader Commentary: The marginal note suggests that while the story already breaks new ground ("真打破历来小说巢臼", truly breaks the mold of traditional novels) and ranks highly among literary works ("阅其笔则是《庄子》《离骚》之亚", second only to Zhuangzi and Lisao), there is always room for improvement or a shift in perspective that could elevate its appreciation or interpretation further.
Overall Implication: The remark "转得更好" in this context reflects a nuanced perspective on the story's role and effectiveness. It underscores a desire not just for acknowledgment of the story's existing merits but for a deeper engagement or a more transformative experience for the reader. This aligns with the broader themes of the passage that advocate for the story as a tool for personal reflection, intellectual stimulation, and perhaps even spiritual or emotional relief, beyond mere entertainment.
Thus, "转得更好" here is not just a comment on narrative technique or thematic depth but a broader philosophical reflection on the potential of literature to influence, transform, and enrich human experience.
A modern Mandarin version of the sentence "把此一玩,岂不省了些寿命筋力" might simplify the classical expressions to make them more accessible to contemporary readers, while retaining the original meaning. Here's a possible modern rendition:
玩一玩这个,不是也能节省一些精力吗?
Breaking this down:
玩一玩这个 (wán yī wán zhè ge): "Play with this a bit," where "玩一玩" is a more colloquial way of saying "engage with this for leisure," and "这个" (zhè ge) translates to "this," making it sound more direct and conversational.
不是也能节省一些精力吗? (bú shì yě néng jiéshěng yìxiē jīnglì ma?): "Wouldn't it also save some energy?" Here, "不是" (bú shì) is a common way to start a rhetorical question in modern Mandarin, equivalent to saying "isn't it the case that." "节省" (jiéshěng) means "to save," and "一些精力" (yìxiē jīnglì) refers to "some energy," making the phrase more straightforward and easily understood in today's context.
This modernized version maintains the original's rhetorical question form, encouraging reflection on the value of leisurely activities (like reading or engaging with art) as a means of conserving energy in contrast to more physically or mentally demanding tasks. It's phrased in a way that's more immediately understandable to contemporary Mandarin speakers, using everyday language to convey the original sentiment.
The characters mentioned in the phrase "满纸才人淑女、子建文君、红娘小玉等通共熟套之旧稿" represent typical figures from traditional Chinese literature and popular stories. Let's break down the phrase to understand the characters and their cultural significance:
满纸才人淑女 (mǎn zhǐ cái rén shū nǚ): Literally, "the pages are full of talented men and virtuous women." "才人" (cái rén) refers to talented or scholarly men, while "淑女" (shū nǚ) refers to virtuous or genteel women. This phrase critiques the overuse of these idealized character types in traditional literature, suggesting a lack of originality or depth in character development.
子建 (Zǐ Jiàn), 文君 (Wén Jūn): These are specific historical or legendary figures often romanticized in Chinese literature.
子建 (Zǐ Jiàn): Refers to Sima Xiangru (司马相如), a famous poet and literary figure from the Western Han Dynasty, known for his talent and literary achievements.
文君 (Wén Jūn): Refers to Zhuo Wenjun, who eloped with Sima Xiangru, defying traditional norms for love. Their love story has been romanticized in various poems and literary works as a symbol of passionate and defiant love.
红娘 (Hóng Niáng), 小玉 (Xiǎo Yù): Characters from traditional Chinese operas or novels that have become archetypes.
红娘 (Hóng Niáng): A clever and resourceful maid in the classic Chinese play "The Romance of the Western Chamber" (《西厢记》). She is known for helping the lead characters, Cui Yingying and Zhang Sheng, overcome obstacles to be together.
小玉 (Xiǎo Yù): A common name for maids or supporting female characters in Chinese stories, representing the archetype of a loyal and smart servant or companion.
等通共熟套之旧稿 (děng tōng gòng shú tào zhī jiù gǎo): "and others, all conforming to the familiar templates of old manuscripts." This part of the phrase criticizes the repetitive use of these character types and plot devices, suggesting that they are clichéd and lack originality.
The phrase as a whole laments the prevalence of clichéd and stereotypical characters in traditional literature, implying a desire for more innovative and diverse character portrayals. It reflects a call for literary works to move beyond the familiar archetypes and explore more nuanced and original storytelling.
Reader comment:
自色悟空 : these are Buddhist concepts, the literal translation is wrong/bad.
https://zh.wikipedia.org/zh-cn/色_(佛教)
https://zh.wikipedia.org/zh-cn/空_(佛教)