Chinese Novels

"假作真时真亦假，无为有处有还无。"

"厚地高天，堪叹古今情不尽；痴男怨女，可怜风月债难偿。"

"枉自温柔和顺，空云似桂如兰。 堪羡优伶有福，谁知公子无缘。"

"玉带林中挂，金簪雪里埋。"

"才自精明志自高，生于末世运偏消。"

"富贵又何为？襁褓之间父母违。"

"欲洁何曾洁？云空未必空。可怜金玉质，终陷淖泥中。"

"一从二令三人木，哭向金陵事更哀。"

"桃李春风结子完，到头谁似一盆兰。 如冰水好空相妒，枉与他人作笑谈。"

"光摇朱户金铺地，雪照琼窗玉作宫。"

"开辟鸿蒙，谁为情种？都只为风月情浓。"

"都道是金玉良姻，俺只念木石前盟。空对着山中高士晶莹雪，终不忘世外仙姝寂寞林。叹人间，美中不足今方信；纵然是齐眉举案，到底意难平。"

"若说没奇缘，今生偏又遇着他；若说有奇缘，如何心事终虚化？"

"一个枉自嗟呀，一个空劳牵挂。一个是水中月，一个是镜中花。"

"却不知太高人愈妒，过洁世同嫌。"

"到头来，依旧是风尘肮脏违心愿。"

"機關算盡太聰明，反誤了卿卿性命。"

"家富人宁，终有个家亡人散各奔腾。"

"忽喇喇似大厦倾，昏惨惨似灯将尽。 呀！一场欢喜忽悲辛。叹人世，终难定。"

"留余庆，留余庆，忽遇恩人；幸娘亲，幸娘亲，积得阴功。劝人生济困扶穷，休似俺那爱银钱忘骨肉的狠舅奸兄。正是乘除加减，上有苍穹。"

"问古来将相可还存，也只是虚名儿与后人钦敬。"

"好一似食尽鸟投林，落了片白茫茫大地真干净！"

"‘意淫’二字，可心会而不可口传，可神通而不能语达。"

"莫失莫忘，仙寿恒昌。"

"不离不弃，芳龄永继。"

"白骨如山忘姓氏，无非公子与红妆。"

"彼时合家皆知，无不纳闷，都有些伤心。那长一辈的想他素日孝顺，平辈的想他素日和睦亲密，下一辈的想他素日慈爱，以及家中仆从老小想他素日怜贫惜贱、爱老慈幼之恩，莫不悲号痛哭。"

"忽又听见秦氏之丫鬟，名唤瑞珠，见秦氏死了，也触柱而亡。此事更为可罕，合族都称叹。"

"秦钟既死，宝玉痛哭不止，李贵等好容易劝解半日方住，归时还带余哀。贾母帮了几十两银子，外又另备奠仪，宝玉去吊祭。七日后便送殡掩埋了，别无记述。只有宝玉日日感悼，思念不已，然亦无可如何了。又不知过了几时才罢。"

"谁信世间有此境，游来宁不畅神思？"

"他便料定天地间灵淑之气只钟于女子，男儿们不过是些渣滓浊沫而已。因此把一切男子都看成浊物，可有可无。"

"巧者勞而智者憂，無能者無所求，飽食而遨游，泛若不系之舟。"

"我就是个多愁多病身，你就是那倾国倾城貌。"

"看看三日的光阴，凤姐宝玉躺在床上，连气息都微了。合家都说没了指望了，忙的将他二人的后事都治备下了。贾母、王夫人、贾琏、平儿、袭人等更哭的死去活来。只有赵姨娘外面假作忧愁，心中称愿。"

"花魂点点无情绪，鸟梦痴痴何处惊。"

"至次日乃是四月二十六日，原来这日未时交芒种节。尚古风俗：凡交芒种节的这日，都要设摆各色礼物，祭饯花神，言芒种一过，便是夏日了，众花皆卸，花神退位，须要饯行。闺中更兴这件风俗，所以大观园中之人都早起来了。那些女孩子们，或用花瓣柳枝编成轿马的，或用绫锦纱罗叠成干旄旌幢的，都用彩线系了，每一棵树头每一枝花上，都系了这些物事。满园里绣带飘摇，花枝招展，更兼这些人打扮的桃羞杏让，燕妒莺惭，一时也道不尽。"

"花谢花飞花满天，红消香断有谁怜？"

"侬今葬花人笑痴，他年葬侬知是谁？"

"试看春残花渐落，便是红颜老死时； 一朝春尽红颜老，花落人亡两不知！"

"滴不尽相思血泪抛红豆，开不完春柳春花满画楼，睡不稳纱窗风雨黄昏后，忘不了新愁与旧愁。"

"况从幼时和黛玉耳鬓厮磨，心情相对。"

"人有聚就有散，聚时欢喜，到散时岂不冷清？既清冷则伤感，所以不如倒是不聚的好。"

"話說天下大勢，分久必合，合久必分。"

"The Romance of the Three Kingdoms is an encyclopedia of political tricks in China, collecting all the political schemes, strategies and subterfuges and demonstrating all their forms. All the political, military, diplomatic and social affairs described in the novel are centered on deception and all the tricks are tricks of deception."

"The Romance of the Three Kingdoms is by design a historical narrative rather than a historical novel as we understand the term in the West. Hardly a single character in the book is ahistorical, and there is no plot to speak of beyond the plot of history. Though it borrows from the oral tradition of storytelling, it is clearly far more an epic than a romance. ... It attains the condition of good literature precisely because its slight fictional elaboration of history has restored for us the actuality of history."

"The San kuo chih yen i, attributed to one Lo Kuanchung, is an historical novel based upon the wars of the Three Kingdoms which fought for supremacy at the beginning of the third century A.D. It consists mainly of stirring scenes of warfare, of cunning plans by skilful generals, and of doughty deeds by blood-stained warriors. Armies and fleets of countless myriads are from time to time annihilated by one side or another,—all this in an easy and fascinating style, which makes the book an endless joy to old and young alike. If a vote were taken among the people of China as to the greatest among their countless novels, the Story of the Three Kingdoms would indubitably come out first."

"紛紛世事無窮盡，天數茫茫不可逃。 鼎足三分已成夢，後人憑弔空牢騷。"

"What a pity it is that of ten affairs in the world, one always meets with eight or nine vexations!"

"伏願陛下清心寡欲，約己愛民。"

"謀事在人，成事在天。不可強也！"