Portal:Chinese literature

The comparative cultural research-reports and the relevant discussions about the translation of non-English literature - Chinese literature in English


Translation, in postmodern time, was an across-cultural procedure, which, on certain degrees, required translators, standing on a universal root, to understand some language phenomena's universe-projections in different life-impressions (including some imageries with both natural elements from commons' aesthetics in landscapes and subjectively emotional background touched from various personal experiences emerging from past relationships) among different peoples' minds and their possible thinking routines when traveling throughout those 'landmarks'. 'Understandability' was the main requirement, at least, mentioned to us for peoples' seeking of their life-origins linked out their current recognitions and communications, and immediately making those internalizations being known - senses reproduced out from minds. 'Imaginations' and 're-creations' were also important, when we stand on a 'post-stance' to review those we have made. Yes, it was also a procedure of re-creation, though we had kept a very reasonability to re-appear writer's original thoughts - but still, we cannot in total. Taking back a step, let us make some self-disciplinary controls of those basic principles-usages, then, try to bring a continuous openness towards our own lives and borrow some nutrients there (such as from your own learnings, readings and thinking) to nourish your translations. On certain degrees, we should try our best in our own abilities to realize those beauties existing on the other universal bank; however, we would also thank those people' serving behind for your developments, or standing on your shoulders to grow up, and further... forgiving those mistakes we could have be together making (ourselves and your peers; from those towards yours' or towards others'). No matter how, let us bare to try and make things better in good constructional ways, especially for some translations of our own lives or musicality senses in some poems (or to say with poet feelings from lives when reading learning and thinking). In this Portal of Chinese literature, in order to nourish some pieces of my  translations, I thought I should have began with the translation of an original old song from Chinese literature - Han Yuefu (Music Bureau of Han Dynasty: Wikipedia introduction - https://en.wikipedia.org/wiki/Yuefu), named 长歌行 (Melodious Wandering in Long). Many people might laugh at me - Jason, this piece was very famous across Western and Eastern worlds that many famous people had translated it, and where could you find your confidence in doing so? Is yours mature? No,... little might be, but I really wanted to touch those beauties from my own life impressions and get some benefits from what I learnt in my past, such as Shakespeare Course and Robert Burns' Course online... I knew my abilities were limited - especially when facing some rhymes, I felt very hard in English. But, I might be able to carry some, and if this idea, this style or some imageries I re-created can wake up your own life experiences, or motivate your interests in literatures on this hand or the other, or make you to think more about your own 'Afternoon Tea' and further professional works, my heart can be conformed... I attributed it still to the power of Education. Furthermore, in this Poetry Song, a lesson for hard-working since young time has been taught to our young people, which was as if concluded by an aging man summarizing his own life in analogy with seasons' varying and earth's changing for young humans, which I thought should have some meanings for current Times. Wish you can try to understand and enjoy...:

長歌行 (It was about a long past fashion, which was the reason I applied Complicated Chinese characteristics) 青青園中葵，朝露待日晞. 陽春布德澤，萬物生光輝. 常恐秋節至，尡黃華葉衰. 百川東到海，何時複西歸. 少壯不努力，老大徒傷悲.

Sample in Postmodern Translation: Melodious Wandering in long

''Blooming ... plants in the garden;          Waiting...dew for its dryness.'' ''Spreading ... spring over sunny mercifulness; Growing...lives for mortal lightness.'' ''Carrying... fears for the coming Fall;     Falling...leaves in yellow sadness.'' ''Arriving... hundreds rivers into Eastern Seas;Orienting...when could they back Western mountains?'' Endeavoring...forgotten by us in youth life; Regretting, felt by adults in later days. (Knowledge background: In the geography of China, rivers usually ran from Western mountains to Eastern Seas.)

Symbolism and its Chinese literature traditions in one of the four classical works - Dream Of the Red Chamber
In Cambridge Dictionary online, the meaning of Symbolism has been explained as so - 'a type of art and literature developed in the late 19th century that tries to express ideas or states of mind rather than represent the real world, using the power of words and images' Meanwhile, the writer has also reviewed the introductions about the details of Symbolism from Wikipedia: https://en.wikipedia.org/w/index.php?title=Symbolism_(arts)&oldid=734181570 Afterwards, the clear senses of harmony, the common root of literature and the sharing of human treasures made the writer carefully research the bilingual linguistic knowledge for appreciating the ancient cultures including Chinese. Finally, it can be found that in the root of Asian traditions symbolism from peoples' thinking has already been existing for long time. The ethereal, delicate, and exquisite linguistic style deeply reflected from the cultural root made symbolism in traditional China also blooming some different (from formations) but similar aesthetically fictional dreams:

In traditionally Asian literature, symbols and imageries forming a imaginational and dreaming world full of the linguistic meanings from the poetries and literature, but were also reflecting out the natural and realistic facts behind (even with some societal criticisms)- this creative technique has also being developed. However, this root hasn't been carefully and systematically concluded as a certain school as in western pathway nowadays. As in one of the four classical works - https://en.wikipedia.org/wiki/Dream_of_the_Red_Chamber, the poetic descriptions of the main character - Jia Baoyu's fictional trip in 太虛幻境 (Fictionally mirrored universe) has already created imageries and symbols to implicitly predict the 'down-falling' realistic fates of the young lover's, the young generations', all the family members', the on-going societal relationships' and the changing 'faces' of Qing period.

Sample 1st:
When the older goddess of 'fictionally mirrored universe' presented her introduction to the male character -Bao Yu. She had poetic stated as ‘吾居离恨天之上，灌愁海之中，乃放春山遣香洞太虚幻境警幻仙姑是也. ’

(I am living upon one piece of sky named Departure-hating Space, and in another piece of ocean named Sorrow-pouring Sea; I am the Lady who is managing the 'Fictional Mirrored Universe' located in Skin-sweeting cave of Spring-erecting land-scape, my name is Fictions-warning goddess)

Analysis from symbols and imageries: Through highlighting several imageries as special symbols of several landscapes, Fictions-warning goddess has already predict our main male character's realistic life and the fates of all the sisters surrounding him - though there could be some romantic relationships among them, however, they are all from the Fictional Mirrored Universe with the final fate as sadness. 'Departure-hating', and 'Sorrow-pouring' indicated what 'landscapes' this goddess is managing would be full of negative emotions and attitudes. The tragic plots, at the very beginning, have all been symbolized in puns and poetic languages.

Sample 2nd:
After encountering the goddess of 'Fictionally mirrored universe' and being invited to take the trip there, our male character - Bao Yu was guided to participant-observe a palace's ongoing, which was seen as one royal bookstore keeping all the documentary sheets recording the pasts and futures of females in this poetic novel, especially for the beautiful ladies'. Here, this palace's naming and the internal situations of the virtually documentary sheets have also applied the symbolist techniques in predicting their realistic experiences in future.

Today in one of postmodernist channels, firstly, let me translate one channel titled as this palace's name - ‘孽海情天’ （Sins-sea carrying the love-sky） Following it, there is a poetic couplet written as: 厚土高天，堪叹古今情不尽； 痴男怨女，可怜风月债难偿. （Translations: Compared the depth of ground with the height of sky, we can know the continues of loves which would have never been stopping until the endless futures; Compared the foolishness of boy with the complaint of girl, we can shame the debts for loves (the relationships between wind and moon) which would have never been paid back until the repeatedly resurrections.）

Analysis from symbols and imageries:

The symbols and imageries as 'sins-sea', 'love-sky' and 'the relationships between wind and moon' were all substantializing and symbolizing the implicit love-relationships between male and female to be the real landscapes in Chinese paintings.

Following this channel, let us shift our location out to be in another channel, in which our male character had opened one documentary sheet of his female servant and also sister (But in this dream, he didn't know it). His behaviour is random and of flexibility from chaotically; but somehow, every actions have shaped and determined his diverse futures in these channels with these girls. This point remained me the theory of Sigmund Freud - especially the parts of unconsciousness and dream, in which 'the repressed sexual scenarios of childhood' - Id has played the fundamental roles determining the predictions of our futures. The first girl is called Qing Wen, and her poetry is: 霁月难逢，彩云易散. 心比天高，身为下贱. 风流灵巧招人怨. 寿夭多因诽谤生，多情公子空牵念. (Translations: The moon being in the time between the stop of snowy weather and the shine of sunny lights is hard to be encountered, while, The cloud being in the situation among diverse channels of the colourfully waving spectrum of visual lights is easy to be missed; Her attitude in mind facing the fate is higher than the height of sky, oppositely, Her body in reality facing the society is lower than the identity of anyone else; Her romantic affairs and smart intelligences are always calling back other persons' appeals, Her happiness and sadness are usually caused by other people's complaints, which (after death) are usually memorized by the gentleman who are with plenty romantic affairs (implicitly indicating our main male character - Bao Yu ))

Analysis from symbols and imageries:

Through the accumulation of these symbols, feminists can also feel about her sorrow life in the past traditionally feudalist society. However, her ambitions and wisdoms are symbolized and summarized as a glance of time with full lights and natural smile between snowy day and the sunshine. How sad her experiences beyond this dream will be in the future! The hardness can be imagined accompanying with her beauties.

Sample 3rd:
In terms of the Documentary sheets Bao Yu has opened which were virtually with the visual imageries and symbols. When being opened, they were immediately 'standing up' and representing some main female characters' fates in the future of this novel through beauties in certain landscapes (spaces in 'Fictional Mirrored Universe '). Causing these imageries or sceneries are abstracted from the realities of the writer's female-relatives surrounding whom collected together were symbolizing his experiences, in the novel it should be as the main male character - Bao Yu's; they were carrying the personalities, general summaries and life-styles of these beautiful girls. In other words, the writer himself didn't explicitly point which type's meanings behind. Therefore, in the field of Chinese literature, from the past till now, there were a great amount of schools and their leaders who have been debating, arguing and discussing their original representatives in different stages, such as 'the earlier stage', 'the old stage', 'the new stage' and the 'the Modernist stage'. They have already formed one literature study and phenomenon. About further information, in order to get more senses of this work's popularisation, we can review, reference and translate some pieces from this websithttp://www.chinabaike.com/article/316/327/2007/2007022468222.html. Yes, I think: in the postmodernist and globalized worlds currently, we can also sustain and continue a 'postmodernist stage' with the openness, in which diverse roots from different cultures and some principles of universal common knowledge and some fresh perspectives can also be applied 'for explore and understand more'. In brief, let us begin Sample 3rd's poetic appreciations and aesthetic analysis. Before it, I need to emphasis which sheet Bao Yu had opened wasn't designed but from random and chaos. He was in the dream and pushed by unconsciousness and the universal reasonability upon his mind, which he didn't recognize clearly but with fictional and unclear 'colours'. However, after getting back, these dreams became the fates of him and the sisters surrounding. Meanwhile, depending on my abilities and energy, I am also willing to copy his style by chaotically choosing some.

It's to say: when Bao Yu closed the sheet for Qing Wen, he began to open another one representing the main girl characters' fates. Directly after being opened, the imageries stood up with the sceneries as: Two died trees with a jade belts hung upon; following, a pile of snow with a gold (金簪) hairpin buried through. And while, 4 poetic sentences emerging: 可叹停机德，谁怜咏絮才； 玉带林中挂，金簪雪里埋. （We can pity the moralities of a girl who stopped her jobs of weaving as to support her husband's purses of higher societal reputations and the enterprises in higher classes; However, who will appreciate the intelligences of a girl who can create beautiful sentences to cherish the scenery in which the floating snow edelweiss can be metaphor-ed as the catkins; (The merely things we can see are:) A Jade belt was hung in woods; following, a gold (金簪) hairpin was buried through a pile of snow.）

Analysis from symbols and imageries: Analysing these sentences is a complicated job, which need the analyser comprehensively apply different channels of linguistics knowledge, especially here, and also need to make the understandable translations depending on English cultural habits and customs readers can accept. In my opinion, from nature and deep simplicity, it would be easy for both: 1. Firstly, some background knowledge need to be put: there are two main female characters - 林黛玉 and 薛宝钗. What are our names? Somehow, from the perspectives of psychology and theology, they are given with the transcendentalist predictions of a person' personality, life channel, future and fate. Understanding persons' names can associate us deeply analyse their lives. Dai Yu, Lin's name (林黛玉) have applied the rhetoric of pun (somehow with multiple-meanings) and homophone. we can understand it as: a pieces of beautiful jade but with tiny freckles as a small lack hung in woods. You knew, the beautiful girl's skin and body are usually compared with white jade in eastern Asian. However, when we were appreciating girl's beauties, we also need to know everything God created aren't perfect as God himself, but with lacks. The similar aesthetic recognitions have amazing appeared in different origins of our civilizations, as Ancient Greek Religion Artist creation - Venus de Milo with the lost arms but providing various beautiful possibilities (Wikipedia introduction: https://en.wikipedia.org/wiki/Venus_de_Milo). Meanwhile, in China, the most beautiful jade is also the one with tiny aesthetic lack, taking an example - He Shi Bi (Wikipedia introduction:https://en.wikipedia.org/wiki/He_Shi_Bi ). Dai Yu, Lin's life was reflecting her name - with all traditional southern Chinese girl's beautiful personalities and aesthetic characteristics, her intelligences and abilities associated her to make plenty poetries； however, her lacks are like the tiny freckles upon jade expressed the sensitive temperament and non-senses of security which is deeply rooted in her heart. Finally, she was died obeying her fate on the bed of his house facing the bamboo woods surrounding. This case is merely according to her sentences in the documentary sheet of 'Fictional Mirrored Universe'

Sample 4th:
It was said that our gentleman - Bao Yu had opened several documentary sheets in terms of the fate-symbolizations of our girls characters with plants and landscapes virtually shown inside. Following this behaviour, the master of 'Fictional Mirrored Universe'- goddess 'Fictions-warning' was afraid that this smart boy was so clever that he could totally understand '天机'（God's arrangements for future). She attempted to make the closure of this case by guiding our boy to wander around, appreciate other landscapes in fantasy, and take the banquet. Following it, they together visited several palaces, met several beautiful goddesses, and made the remembrances of Bao Yu's ancestors ; and then, it came to our today's case. In the case of today, let us firstly try to explore several titles of some Chinese medical incenses and teas. As the introductions of background knowledge, it was found: in traditional eastern world, as what enjoyed by Western world, incenses with the sweet smell are widely accepted by common families. In the traditions of China, the functions of incenses have been enlarged covering several fields including peace-praying, health-nourishing, love & harmony - motivating, illness-caring and even ... pregnancy & abortion - keeping. Some traditional Chinese girls are the experts in medical incenses - making that they can collect the juices and oils from fruits, flowers, vegetables and other plants, mix them with sky's teardrops, rainy collects, autumn's dew-purity, winter's white-snow; then materializing their spiritualties with certain dependences into powders, and re-composing them as the pieces of incenses. This is a long-time and complicated procedure. About this case - some traditional Chinese girls can be seen as the experts in incenses-making, we can also review the information provided from one beautiful TV drama currently popularized around all generations in great China's area - Empresses in the Palace, or in mainland we call it 'Legend of Zhen Huan' (https://en.wikipedia.org/wiki/Empresses_in_the_Palace). In this TV drama (with novel), there is a Empress titled as ‘鹂妃’（Meaning: an empress who was singing beautifully as what Mandarin Oriole did). She was this type of girl who can make incenses and its original powders, for the purposes of getting back the love of emperor, nourishing her beauties and even killing other empresses' foetuses. (You knew Musk sweet smell - ,in traditional culture and the medical field of Great Chinese Area, was very terrible for foetuses' growth. It also has some reasonable explanations in current sciences. Wikipedia introduction: https://en.wikipedia.org/wiki/Musk) Finally, of the very sadness, this girl's plots killed herself. Getting back, however, as what we have discussed before, the medical incenses, nourishing food and teas in Dream of the Red Chamber cannot be simply understood as merely the functional materials, but with the extra symbolized meanings behind. It was according to the principles of Symbolism.

When arriving in the room of one palace. Suddenly, a stream of implicit (wasn't easier to be found but deeply hidden) sweet smell was encountering Bao Yu's noses. Then, he was totally drunk with this sweet smell and couldn't help but ask Fictions-warning goddess: 'What's it? so amazing'. Fictions-warning goddess smiled with the cold emotion:

'此香塵世中所無，爾何能知！此系諸名山聖境初生異卉之精，和各種寶林株樹之油所制，名為‘群芳髓’' （Translation: this incenses cannot be found in mortal worlds. Then, how can you know? This type of incenses are produced by collecting the souls of new-blooming spiritual flowers, then mixing them with the sweet oils squeezed from the treasure woods and pearls-threaded trees. Finally, we named it SSC - 'Sweet Souls' Collection' ）

Imageries Analysis: Flowers are usually compared with beautiful girls. This type of incenses is also symbolized as the collections of girls' purity and their souls existing for love, which indicated their sad fates in the future - was collected and wasted somehow as the incense's sweet smell.

Following this matter, furthermore, Fictions-warning goddess invited Bao Yu to taste the tea and wine. When it comes to the tea with light sweet but can long-timely stay in mouth, Fictions-warning goddess described: '此茶出在放春山遣香洞，又以仙花灵叶上所带的宿露而烹，此茶名曰‘千红一窟（ku:）’ (Translation: This type of tea was produced from the 'Sweet-Floating' cave in 'Spring-releasing' mountain. We cooked it through the approach dropping the morning dews hanging upon fairy flowers and spiritual leafs. Therefore, we named this tea TRC -'Thousands Reds crying in one Cave'.)

Imageries Analysis:

This tea's imagery is a feminist symbolization. Indeed, why this tragedy has applied huge paragraphs to describe the girls and their sad fates in feudal society who have relationships with Bao Yu (not all regarding with the bodies'(perhaps some), but mainly in spiritual love as another root of our worlds shown - Platonic love (Wikipedia introduction: https://en.wikipedia.org/wiki/Platonic_love)). Somehow, Bao Yu can be seen as the young teenager who respected their beauties and was willing to protected them. Therefore, Fictions-warning goddess has shown plenty beautiful visions to him in order to awake his nature of cherishing girls surrounding him. Following this background, let us try to take Chinese logical line into understanding these senses: Why were the titles of cave and mountain are named 'Sweet-floating' cave in 'Spring-releasing' mountain? In Chinese literature, there are some puns which were applying parts or details of some things or some bodies to represent the whole, especially the impressions of colours. Here, somehow, we can again get the agreement with impressionism. Another condition: Green Spring is usually stand for love or affairs. Meanwhile, 'Sweet-Floating' was using the smell of girl's skin-sweet to represent girl's expressions in love affairs. This are made in tea leafs. Flowers' teardrops, compared with dew-drops hanging upon, were also an emotional expressions appeared after love affairs which females possibly showed. Summarizing all above, we can know why reds (the colours of followers, as their souls, are usually in the category of red) were crying in this cup of tea and how it was 'tasted' as.

Sample 5th:
The arguments between Love's two properties - body-desire & sex-drive or spirituality:

Before this argument, there should be a paragraph about some traditional Chinese melodies forming the whole symphony - . Why was it called symphony? It's because the similarities, in the framework and instruments, between the two - the portfolio of those melodies and the structure of western Symphony ( https://en.wikipedia.org/wiki/Symphony). In next sample, this point will be carefully discussed. In order to deeply understand the 'keys' of this symphony, the translations of Love's dualist arguments and their explanations are put in front. It's said: After listening to  symphony, our boy Bao Yu felt very tired and asked to lie down for sleeping sometime. The goddess of 'Fiction-Warning' asked the singers and dancers away and sent him to a beautiful boudoir with the sweet smell floating all the corners and antiques & ornaments setting with the style like much pomp and circumstance surrounded. In the bedroom, there has already been a beautiful girl lying on the bed bright-coloured and charming. Her beautiful appearance was described as a summary of both Xue Bao Chai's optimist and demure and Lin Dai Yu's charming and softness.(About the two female characters' personalities, beauty-tendencies, attractive parts, we can review Wikipedia -Dream of the Red Chamber ). Then, Bao Yu felt very confused in the dream and was willing to know goddess' purposes (You knew, this was his first time experiencing such event, but in the dream). Suddenly, goddess said:

‘尘世中多少富贵之家，那些绿窗风月，绣阁烟霞，皆被淫污纨绔与流荡女子悉皆玷污. 更可恨者，自古来，多少轻薄浪子，皆以 ‘好色不淫’为解，又以‘情而不淫’作案，此皆饰非掩丑之语也. 好色即淫，知情更淫. 是以巫山之会，云雨之欢，皆由既悦其色，复恋其情所致也. 吾所爱汝者，乃天下古今第一淫人也. ’

(Translation: In the mortal worlds, there were numberless noble families. Their love affairs can be compared with the relationships between wind and moon, and the description of haze and rays raising upon the clouds of boudoir, which were all dirtied by their young generations' obscene behaviours with some prostitutes carrying strong sexy desires. Furthermore, from the ancestry, so many moral wanderers explained their sexy behaviours as ‘just enjoying the stimulations from sensory organs, but will not be trapped into the Love addictions’; meanwhile, they clarified their cases as 'only for making the senses of emotional participant-observations, but cannot be trapped into Love addictions'. These sentences are all for the purposes of hiding their scandals. However, 'enjoying the stimulations from sensory organs itself, at least, was implicitly recognized as Love addictions'; furthermore, knowing the emotional changes during sext behaviours and the fate-meanings behind, itself, was recognized as the much higher level of Love addictions. Therefore, the dates made in the mountain Wu (巫) (This is an idiom that in traditional China, boys and girls were usually making the dates upon this mountain, then together thinking about love affairs implicitly.), and the joyfulness produced after Clouds-Rains' Activities (In traditional Chinese literature, making love was usually and naturally compared with the interactions between clouds and raining. This point can be attributed to the empirical participant-observations of the phenomena - sperm-shooting is like raindrops' nourishing of the beneath, meanwhile, the clouds' acceptance and the thunders can be compared with some features of female' behaviours. ). However, Mr. Bao Yu, I just like you, causing you are the number 1st boy who has been ranked as the highest level of Love-affairs Addictions, from the past till nowadays and to the future. )

(Continued)

If just being here, we would think Bao Yu was of Love-affairs Addiction like a right one among other third-generation youngers in traditional Chinese Red-chamber Family. That's wrongly enough. Let us produce the following translation of this sample. After hearing Fiction-warning goddess's words, in the dream, our boy Bao Yu was denying her comments in a sudden way by mentioning the traditional Chinese principles which his parents had taught. However, Fiction-warning Goddess explained why she has commented as above by saying:

'非也， 淫虽一理，意则有别. 如世之好淫者，不过悦容貌，喜歌舞，调笑无厌，云雨无时，恨不能天下之美女供我片时之趣兴：此皆皮肤滥淫之蠢物耳. 如尔则天分中生成一段痴情，吾辈推之为 ‘意淫’. 惟 ‘意淫’二字，可心会而不可口传，可神通而不能语达. 汝今独得此二字，在闺阁中固可为友，然于世道中未免迂阔怪诡，百口嘲谤，万目睚眦. . . 而今后， 万万解释，留意于孔孟之间，委身于经济之道' (Translation: No, that's wrongly enough. Love-affairs Addiction, though, the roots of two kinds of expressions - keening on body-touching & sensory-organs' connections and knowing the emotional changes & understanding the idealist fate-willing behind - are the same. However, the senses, if gotten, are of the diversity. Currently, the persons who are addicting in making the love-affairs (body and skin) only knew the beautiful appearances, joyful songs & dances and the never-tired flirtations - some surfaces, during the times trapping in 'Love Addictions'. When times came, they usually hated that they hadn't gotten the enough power to attract the beautiful girls all around the worlds for enjoying only several minutes' happiness of themselves': but, they are all about the foolish skins-touching behaviours overflowing the waves of love-river itself. However, you are different. From nature, a giftedness of you has been produced as a feature of foolish infatuation. In my generation, we pushed its title out as the 'Imagery Visioning' in Love-affairs addiction - ‘意淫’（Yi Yin）. These two words can only be understood by hearts without being communicated through talks (In traditional China, peoples were recognizing that their thoughts were from hearts, rather than brain. Thoughts can be spiritual integrated between each other, but cannot be described by languages. From here and now, you uniquely gotten of the two words. In ladies' boudoirs, can associate you to be accepted as a honey friend; but if being put into the Societal Daoism all around, you are so generous and strange which caused your unacceptance no matter where. People will laughed at you all the time and showed out their angers through their hundreds more mouths and ten thousands more eyes... From now on, you need to accept the enlightenments, modify your addiction as before, put yourself into understanding the laws summarized by Confucius and Sir Meng and dedicate yourself into the Dao of the economy.)

Imagery Analysis and Comments

Through the framework of this negotiation, we can find we were wandering into a Debating Maze of love's root lasting for thousands more years, in which eastern cultures and western cultures have almost all gotten into the dualist circling and felt hard to get out. In this famous eastern novel, we can feel that about love-affairs addiction, the main tendency which was cherished by most in traditions was turned towards being the gotten in the spirituality and idealism implicitly, and the explicit body-touching was ranked lower. Then, we could further question - could love live separately and singly beyond bodies' touching and merely in mind.(or, with a few times' sexy operations in reality. Indeed, Bao Yu finally has taken some love-affairs by his sensory organs both in his dreaming fictional universe and in his reality. However, these cannot be compared with his mind-wandering - it's so far and so wide.)The similar situation has also been described by another root of Western culture, but a little bit different - Platonic Love 'a kind of love centred on male–male relations and included sex which underwent a transformation during Renaissance (15th–16th centuries) to get its contemporary sense of asexual heterosexual love ... Vulgar Eros is nothing but mere material attraction towards a beautiful body for physical pleasure and reproduction. Divine Eros begins the journey from physical attraction i.e. attraction towards beautiful form or body but transcends gradually to love for Supreme Beauty.'. . As traditional China Love appreciated by the societies, especially from intellectuals, then radiating to all the commons through novels-writing, of those Times,  was turned to be spirituality-internally, discoursed, implicitly, but as if the realist virtualization. This point was an interesting and opposite expression differentially from western worlds currently (Western tendency was also grown from its traditional debating root - Platonic Love, and about the following historic-growing-tree Eros furthermore, we can review the introductive Wikipedia summary and the academic articles following in this Wikipedia page: https://en.wikipedia.org/wiki/Eros_(concept). ) - exampling: Bao Yu was implicitly leading to this fictional universe, but his feelings in imaginations were quite true as the realist experiences transcendentalist following, channelling to the Post, and with most details. That's what, in wikiversity, we can make further researches, discussions and explorations. In conclusion, this session has demonstrated love's dialectical, dualistic and contradictive approaches overall, which reflected the debating circling was also lasting for thousands years as western root; but the tendency was standing differently and implicitly.

Part 1 - 'Fictional Warning Goddess's' introductive session guiding Bao Yu to critically listen to 'Dream of Red Chamber':
Regarding with the prediction visions in 'Fictional Chaotic Universe' contenting imagery visions, poetic sentences, and fairy songs collected from future and stored as sheets in the past, currently, we came to the most important part - the 12 dancers' 12 melodic songs new-composed as 'The Dream of Red chamber'. They are the non-material heritage and treasure of Great China area which contented Cao Xue Qin's cosmologic views of the universe and its fatal reflections of main characters and families' 'on-going channels' in this novel. These 'channels' in his novel are transcendentalist existing escaping Times and Spaces' limitations and sitting there across the boundaries among past, current and future. Full of symbolized imageries were represented into these songs' lyrics, through language's paradox, pun, simile, metaphor, personification, hyperbole and understatement etc., about which not only persons' personalities, fatal cross-corners, associators, destroyers, life-circles which they cannot get out, relationships which they cannot get away, ambitions which they should not powerfully hold and revenges which they should not deeply memorized, have all been transformed into some participant-observed poetic descriptions with certain pronunciational rhythm and rhymes and with the contents as some landscapes and flowers (or plants). As what 'Fictional warning goddess' commented: 'These fairy songs cannot be made the comparisons with legends-recording songs in mortal worlds. If mortal persons would like to make legend-recording songs, they must compose them with the principles among Sheng (生)， Dan (旦)，Jing (净), Mo (末) Chou (丑) (Here, I would like to introduce more: 'Fictional Warning goddess' had borrowed some adjective words from Peking opera's basic identities-recognition setting-pathway - 'Masks-Personalities-Matching symbolization' . However, her true purpose here was to generalize the principles from the net-works of Mandarin societal relationship, highlight them upon the faces-factors-analysis as in the original Peking opera, and express in a familiar routine which Bao Yu can easier understand. In other words, she was using these roles-setting pathway of opera to summarize and represent a whole societal vision with different types of people living in their own channels. We can try to make more senses about this lending pathway.) and with the composing laws of 'Nine Palaces' which Daoism has found covering two geographic parts - the Northern and the Southern.(The composing approach was a branch growing from the grand theoretical root of 九宫道 "Way of the Nine Palaces", about which we can review the summery and some articles from Wikipedia: https://en.wikipedia.org/wiki/Jiugongdao) But, our 'Dream of Red Chamber' sometimes intoned a person, sometimes made some remembrances of certain issues. If one melody was composed by accident, they can all be applied into Chinese Orchestral work transcendentalist. (About Chinese Orchestra, we can produce much deep comparisons and contrasts with Western Orchestra through this introductive link and its relevant articles summarized from - https://en.wikipedia.org/wiki/Chinese_orchestra) If you will not travel to their fatal mazes which were described in these songs, you cannot understand the amazing fantasies of these songs. Dear Bao Yu, I knew you might not deeply understand the 'tunes', currently. You can primarily read the lyrics drafts, then listen to these melodies. Oppositely, you would find you will be losing yourself, and meanwhile, listening to these melodies would be like eating wax - no taste'.

 Part 2 - The collections of performances for 12 new-formed melodies named 'Dream of Red Chamber' and their creative translations from cultural participant-observations of universal roots bilingually: 

To be honest, regarding with translations and interpretations of these 12 melodies, a great amount of learners, experts, scholars have already done some great jobs, which contributed to the communications between Western cultures and Eastern cultures. Without these 'giants' shoulders', we cannot get even some basic understandings and common knowledge between. Representing for our team here, I would like to give our great thanks and respects to the past. But, I repeatedly asked ourselves: traveling in these channels, what further landscapes we can see in 'Mirrored Fictional Universe' and these symbolized meanings to indicate main characters' fates in future. Indeed, these melodies, or we called them songs or dancing scenes, are virtual and multiple-dimensions upon Times & Spaces, then abstracted into linguistics by words. How could us very exactly introduce them? To be or not to be (there), that's a question. Then, I thought several documentary collections and their comparable (between two cultures) interpretations from the successive, common, shared and core cosmos root-area would give us some associations. I, representing for we, would like to have a try:

Imagery Melody 1st - '红楼梦引子' - Introductive words as Chinese pharmaceutical 'starter' of Medicine for Red Chamber Dream:
(Interpretations: Here, about translations, there were some debates. '引子' firstly appeared in Chinese Medicine in terms of the study of pharmaceutics. How could us get some senses from the comparable pieces of knowledge on each side? In Western worlds, from my participant-observations, such as when travelling in Scotland, England and taking various styles of Full Course meal (such as my experiences about 4 course in one of Loch Lomond restaurant), we usually took 'full course dinner', and at the very beginning with a 'starter' to open the stomach and stimulate taste buds for keeping the sustainability of the whole meal's style. Yes, this way in cooking has also been kept by different peoples in Europe in order to get aesthetic ideas of food itself. Historical root as common knowledge has usually been grown in different areas, countries and cultures, especially from the origins. The peoples in Great China Area took the ideology of '药食同源 - the branches of medicine and food are from one original root. Then, about some symptoms, we made and took Chinese medicine from plants and animals as cooking and divided Time of taking as into different courses for the entire coherence and harmony of medical functions. It's to say: Time and different materials put into different courses are somehow very important for functions-motivation, which can nourish bodies and pursue health. This approach was usually applied in long-term illnesses, as some main lady characters' female illness in this novel somehow need long time's therapy in 'eating' medical food nourishing and warming their bodies, which really cannot be treated in short time. Even some middle-term and short-term medical treatments, we are also keeping this thinking somehow with 'starter', 'main course', 'Dessert' and 'coffee'. yes, the final two courses or even more, are not 'Dessert' and 'coffee', but content the functional materials to totally get away the left of illness-root and recover the life vitality. That's one reason why, in my perspective, I translated it as 'starter' of Chinese Medicine. Another perspective is: if we try to understand the main theme of the whole novel, we will find - here, what 'Functional Warning Goddess' really wanted to do was pushing out her transcendentalist warning notices to little Bao Yu - driving him away from the real 'Love Affair Addiction' which will cause his life in future really painful and straggling. Meanwhile, she saw 'Love Affair Addiction' as one type of foolish illness - poetically trapping himself so deep. She thought: if at the very beginning, he gave up the fictional visions; maybe, everyone in this fate-maze will all get released. However, can our boy give up it? It was transcendentalist written on jade stone already... For short, this view is an evidence to prove the possible prediction as '引子' from Chinese Traditional Medicine for caring people's fate-illness in this novel.)

Traditional Chinese Characters-edition:

“開闢鴻蒙，誰為情種？都只為風月情濃.

Translation across Times & Spaces:

From the sustainable breakout of Universal chaotic desolation, Whom can be compared with Real Foolish 'Love Affair Addicts'?

They did all for soap-liked pureed senses of bodies-touching, which can be compared with the play-game between breeze and moon.

(1. Here, there are some interpretations I can reference from my old books and dictionaries which can give us some possible visions of how they were translated as: The situation descripted as in the later 2 characters '鴻蒙' of the first 4 characters was like what stated in 'Genesis' of Bible - The story of Creation: 'In the beginning, when God began to create the universe, the earth was formless and desolate. The raging ocean that covered everything was engulfed in total darkness, and the spirit of God was moving over the water ...' Therefore, the word 'chaotic' from universe in this translation has been given as the adjective, but the centralization was still on the following 'desolation' from earth's local situation. Why did this translation use 'breakout' to account Universe's very beginning situation? Here, we need to see how peoples from Great China Area think about the first several seconds of our beginning? There had been one main of the legends supported by plenty documentaries and scholars, which was heard like: God-giant Pangu - 'he separated Yin from Yang with a swing of his giant axe, creating the Earth (murky Yin) and the Sky (clear Yang). About the introduction, we can see this Wikipedia page: https://en.wikipedia.org/wiki/Pangu Yes, he had used the axe to 'breakout' the chaotic situation of universe from the internal part of universe-egg and re-ordered earth's desolation. Then, things would had been being developed sustainably till what situations currently was like. Indeed, regarding with these two character, some printed documentary dictionaries can also give some supports. I had gotten another huge Chinese dictionary, in which '開闢' was modernist explained as 'exploring, developing, and re-constructing' from some documentary reviews of old books, which, in my opinion, also contented the meanings of 'breakout or break through'.

But, how could we made some atheists get this sense if God wasn't believed in. I think in this channel, scientific theory, such as 'Big Bang' in physical cosmology has also given some experimental and materialized evidences from participant-observing the natural phenomena of our universe. Some introductions we can search from this Wikipedia-page: https://en.wikipedia.org/wiki/Big_Bang. Therefore, 'breakout' should be applied here, as from the evidential descriptions and participant-observation.

2. In terms of why the following characters in this sentence have been translated as above, some paragraphs above this part have already clarified. In this case, I thought, it didn't need to be given much more interpretations. If needed, in the future, I will try to make some supplemental additions.

Traditional Chinese Characters-edition:

奈何天，傷懷日，寂寥時，試遣愚衷.

Translation across Times & Spaces: Wandering throughout the Helplessness      Sky, Broken-heartedness Day, Loneliness        Ray, in order to send the foolish loyalty　(to you).

(There is a rhyme as 'three Chinese characteristics a group' emerging out from the original sentence. However, it wasn't according to pronounciation, but the epistemology of the relationships between universe externally and mind-independent world internally. Hopefully, I can seek some English words to keep this feminine rhyme exactly and explicitly. Then, 'Sky, Day and Ray' appeared there. Let me make some explanations: 1. The first universally logical line in this sentence was about the views of Time standing from the local Space - earth. 'Sky was running around', a day was after; then, where is the centre of universe? The tiny short moment - first ray touching your eyes, a warmth was current; then, how do you think about its relationships with our internal universe, from outside to inside, or from inside then outside? Ray is a time point, or a grasped feeling merely floating from the deep mind. It was almost a cosmological question. In order to answer this question, arguments made people bleeding thousand years, but answer is still kept unclear. After pursuing scientific approaches too much until deep relativity, suddenly, we found: sun and milky way were also not the centre of universe; then anywhere isn't the centre; oppositely, anywhere is the centre. Then, do you think Geocentric model is still wrongly enough? It was from our original and simple participant-observations of universe and its relationships with us. Here, I don't want to explain to much that we are continuing exploring the truths, about which we can review some pieces of introductive information from Wikipedia - Geocentric model. Here, by picking up it, I just wanted to reminder the cosmological thinking way from traditional Chinese area to see our poetic translations. As what declared in the note from Pop's paragraphs 'In fact, the Bible does not concern itself with the details of the physical world, the understanding of which is the competence of human experience and reasoning', that's quite right that we didn't need to concern too much. In ancient Chinese world, we usually saw the universe from the very infinite, layer by layer, then finally to the very detailed phenomena surrounding, then, we class the order from higher to nearer; and meanwhile, we thought there must be certain connections and relationships between us and the very infinite. ‘Interactions Between Heaven and Mankind' theory can give us some suggestions in understanding this case. Indeed, the ancient thought of universe in China is very similar with Bible's from self-participant-observations in our eyes:　天圆地方 - after the breaking-out by God-Giant Pangu, light things flying upon and heavy things dropped beneath, then God-Giant Pangu's body and blood were transformed to be mountains, rivers plants and animals. What Earth looked like there was quite similar to an ark in universal sea. Yes, there is also flood. Then, 'sky is running around, and a day is after till now'. To be honest, when translating the biggest Time calculator - 天(Sky), I came across a difficulty. Currently, 天(Sky), in Chinese language, has already been put into Time Sequence as a unit similar to Day. Chinese currently told some funny words by saying 'when I closed my eyes, then opened it, a Day（天） was after'; here, the time unit is applied with this character, but carrying the different meaning for Time calculation - Day or daytime. After referenced from Ocean of Chinese Characters 辭海, I found there should be a reasoning logical line hidden inside modernist meanings, which was making the evolutions from the Time branch of ancient legend cosmology, as seeing 'Sky' upon our heads. Finally, I decided to use this word. About the final word 'Ray', the first reason is for keeping Feminine Rhythm; following, the second one is borrowed from the phrase 'Catch a few rays' in British English, as to say' stay outside in the sun for a period of time' - a really short time. In other view, 'a small amount of a feeling that makes you feel happier or more full of hope' gave the subjective meaning, which can be seen as a bridge dialectically across physics world to mental feelings. Then, the door was opened to the next logically line composed as below. 2. Here, we knew this part in 'The Dream of Red Chamber' is a transcendentalist and predicted visions' portfolio for understanding every characters' future fates. It was a tragedy, compared with Shakespearean several ones. In the very beginning, this kind of emotional predictions have already been revealed from every melodic sheet which Bao Yu had opened. This is a very sad story that he knew fate was given him every indication about how things can be in the future, but he can only take his orbit in fate-order and cannot get out of his own circle or we say his 'play' on life platform. Following it, you knew, 'helplessness', 'broken-heartedness' and 'loneliness' - these keys, alongside Time Sequence arranged, would all appear in his different stages of life. How should things be? How can he deal with them? '奈何 - feeling helplessness, then willing to be 伤怀　－ broken-heartedness, until finally one day being total '寂寥　－loneliness' without any support from Love affairs, and then making the departure from this world by leaving '白茫茫大地好干净 – snow-land with holly purity'. Therefore, there is another universally logical line, as the self-reflexivity, integrating its words with the chosen ones from first logical line, about which we can try to appreciate their tragic beauties, similar as Shakespearean works. Personally, I always wanted to say: in some pieces of common knowledge, indeed, Western worlds and Eastern worlds have already gotten a balance in Times Spaces and similar understandings, especially in aesthetics of Life. Just, sometimes, we ourselves didn't want to make the recognition.)

因此上，演出這悲金悼玉的“紅樓夢”.

Following these melodies above, 'We - they' are performing a gold-tragic and jade-crying

Red Chamber Dream

NEXT

(Next session was dangerous to be participant-observed across cultures in this life circle, which was beyond my abilities. Then, this case is closed, or waiting certain new theme's coming. Briefly say: it was talking about Bao Yu's waking-up in Fictionally Mirrored Universe.)

Next: The procedure of our boy Bao Yu's waking-up, as in a channel passing-by the river bound-up Hell-Maze
"Next will happen when Next is arriving". That's quite right that when the time of Next is coming, the issues of Next will be presented. Indeed, this part is also the end of the description of 'Chaotic Mirrored Universe'. (Here, in this session, I am only willing to be a participant-observer for describing things' on-going in legend and theological universe and seeing what impressions were as from commons' linguistic fine arts. In that case, I dare to take it. Knowing this session is for cherishing our peaceful life and protecting it against self-sins and sins from others. That's the aim. Hopefully, readers and myself can get some enlightenments in this procedure, for bravely bettering their reality and positively take mortal responsibilities .) Tightly following the part Bao Yu having wandering in FMU - 'Fictionally Mirrored Universe' with the goddess 'Fiction-warning Lady', appreciating the fatally predicted and roles-symbolized 'landscapes' for future, and being enlightened from some fictionalized poetic 'spiritual flowers' standing upon imagery characteristics; another part lost from sky by Bao Yu's landing-down and passing-by a unknown 'Hell-liked' somewhere in 'Fictionally Mirrored Universe' has attracted my interests. Though, there, dangerous scenes, one following-by-another have awaked Bao Yu's beautiful dream by deep fears; it's also a world which was deeply hidden back in diverse roots of cultures, somehow, like common knowledge. To this piece of knowledge, Chinese culture usually turned to be implicit. Why? in my understandings, things after Death are usually of uncontrollability, and departures from family members usually caused some deep sadness and great sorrow, which are hard to be accepted by Chinese peoples. Then, it usually was deeply hidden back in some implicit expressions. But, after learning and self-researching Christianity Theology, I don't think there are some fears in my hearts I felt I couldn't bravely face. At least, everyone would all face this point, about which some very similarities rooting in common knowledge are really existing across different cultures all around the worlds. It was a big surprise and possible for me to make some participant-observations of what I knew across cultures. Why did these words of waking-up session constructing some 'Hell-liked' scenes in Bao Yu's channel?

'''Firstly, the collections of original meanings can teach us. They are from both Cao Xue Qin's novel-descriptions and Fictions-warning Goddess' sentences''' : ‘...，但見荊榛遍地，狼虎同行，迎面一道黑溪阻路，並無橋樑可通. ...警幻道：‘此即迷津也，深有萬丈，遙亙千里，中無舟楫可通，只有一個木筏，乃木居士掌舵，灰侍者撐篙，不受金銀之謝，但遇有緣者渡之 ...只聽迷津內響如雷聲，有許多夜叉海鬼，將寶玉拖下去...’

Translation across Life & Death:

'... But, there, we are just going to see the thistles and thorns are covering every corners of the ground, Meanwhile, some wolfs and tigers (and beasts similarly) are companying with each other running upon. In front of our faces, there is a black rivulet (river) blocking our highway's going-through, upon which there will be no bridge to go. ... Fictions-warning goddess say: This is a maze-portal with the height of one hundred thousand Zhang-s (one type of measurement unit; Usually, in Chinese language, a huge exact number of something is just to describe the amount is great, not to say it's real in this case). Its width is also in a long distance covering one thousand miles. There is no boat for getting through, but merely a wooden raft (can go), Serving for which there is a Wood Budi-gentleman holding the helm, and a Grey server punting the raft.

(Here, a type of Chinese Philosophy has been set in naming the main master of this 'Death River' - Wu Xing. It's a philosophical view to see the relationships among Five basic phenomena - or, we can call them elements, as several civilizations' common recognition of Universe, and also as the original beginning of Chemistry. Here, why will only Budi-gentleman can make raft floating upon the surface of 'Death river'? In this philosophy, Death river, though for death and with the breath of darkness, is still formed by basic element - water. Indeed, here, 'Water, Wood, Fire, Earth and Mental' aren't the solidified substances but somehow streams of impressions of us to our Parallel Mirrored Universes, at last and also from the beginning. Water's Darkness Death-breath can float up Wood's Grey Life. Wood's Grey Life can serve people's going-through the boundary between Death and Life. Then, heavenly bank is over there and everything is recycling with the sustainability. Otherwise, A deep fall down one hundred thousand Zhang-s will happen. This is 'Next'. Yes, we can just see this description with the imagery logical line as a cultural phenomenon which was participant-observed and novel-reflected by Cao Xue Qin. If willing to know more pieces of knowledge about Wu Xing, we can turn to Wikipedia's introductions. )

They will not work for money as you send to them, but just for someone who has '緣 - Yuan: Natural Affinity' with them.

(To be honest, this characteristic is very hard to be translated, which usually was understood as the universal arrangement by some transcendentalist power beyond mortal understandings. It was oppositely contrasted by the other characteristic '份 - Fen: Fatal arrangement', which, in some schools, means the implicit societal power as from making fatal contracts, from the beginning, pushing people to run in their orbits, yes, the instinctive reflections streamed among tides of the fate can also be shown out. About further information, we can try to research introductions from Wikipedia. Why is 'Yuan' applied here, not 'Fen'? Later, we will present a total explanation.)

...

Just hearing　the sounds of Thunders loudly produced there from Maze-portal of Fictionally Mirrored Universe's Death River, so many Mermaid-liked spirits, Poor credulous monsters, and Sea ghosts have all raised from bottom, to　pluck down our boy - Bao Yu.

To explain these poor creatures' out-coming in dream isn't a hard job. They were existing from Chinese culture, but surprisingly appearing from different cultural roots. I thought they weren't terribly as evils, but being with or produced by deep complexes and unrealized desires of minds. Firstly, let us try to analyse Sea ghosts or Water spirits living in Death River (or River leading to darkness empty). Firstly, I would like to say some extra words: Several years ago, by accident, my father gained a printed traditionally paper-printed and cotton threaded work (including 4 books) - , directly from the grandson of the grandson of the grandson... of its writer Pu Singling (Wikipedia introduction: https://en.wikipedia.org/wiki/Pu_Songling). As a small common, I felt very happy to own this book, especially in spare time. Dreaming in a fantasia world full of fox beauties, flower ladies, snake spirits, butterfly ghosts, oh, and today's role - water creatures, you knew, to a boy dreaming in life-long reading, writing, learning, researching and adventuring of universal principles made by the Creator (Provider), how lazy and entertained I was when reading! in Chinese literature history, if you want me to define what two types of work can be seen as encyclopedias in recording strange things and creatures, I would mention this one and another　《山海经》 (Title translation: Geographic Mythology of Landscapes - Mountains and Seas) We can review some further introductions of the two in Wikipedia (https://en.wikipedia.org/wiki/Strange_Stories_from_a_Chinese_Studio and https://en.wikipedia.org/wiki/Classic_of_Mountains_and_Seas).

Works-comments of two types of 'Chinese encyclopedias of Strange things':

1. 'Strange Stories from a Chinese Studio's' contributions rooted in its fork-recordings of materials directly from local commons' daily experiences and lives. In order to write it, Pu Songling has prepared a street-by Tea-table welcoming all commons to share their strange stories, merely for interviewing them and stories-collections, which lasted for several years. Reading it, you would feel the familiar imaginations, scenes, legends and myths, as if from your own lives and experiences in somewhere rural areas, landscapes and even learning studios. For example, during the midnight you were studying or researching in your books-stored learning studios, what an expectancy you brought in minds to wait for imaginational realizations: a Fox beauty or Flower lady would stand directly behind your door, or a picture of Sea fairy goddess would stand out lively upon your book; they would serve you a cup of Tea or Coffee, and ask: milk or sugar? Ｏ（∩＿∩）Ｏ～ Or, some monsters would islandic appear from the river or sea you were facing, now, outside windows, like Loch Ness monster;(Wikipedia introduction: https://en.wikipedia.org/wiki/Loch_Ness_Monster), furthermore, they were transformed to be mankind shapes, such as a beautiful lady or a handsome boy, and wanted to spend life-long time with you to endeavor loneliness and boringness, life-storms and cold snow weathers, earthquakes and earth-end, until endless future's end, just because once before you had save a small fish's life, with your kindness. (Oh, while I was travelling in one restaurant river-nearby in Loch Lomond of Scotland - sorry, it was hard for me to remember names - I tried to seek out a monster in the night, but fail... It ought to have failed). It has a characteristic that lots of magical events were happened upon some young male learners singly reading in the night, from their 'Independently mirrored mind-universe'. These familiar scenes I have mentioned were all recorded in commons' Strange Stories from a Chinese Studio; and even, a series of films named 'Printed Skin' (Wikipedia introductions: https://en.wikipedia.org/wiki/Painted_Skin_(2008_film)) were made or modified according to stories of this work. It's truly a fairy encyclopedia collected from Chinese commons. In this point, I would like to put a entire reference of my edition below, for some original translations regarding with our topic and as a support of what we will write about - 'Water & Sea ghost'.

2. Compared with the work 'Strange Stories from a Chinese Studio', 'Classic of Mountains and Seas' turned to be from another root - formal, reasonable and historical languages; participant-observing geographically distributed fairy creatures, ancient legends, magical species which were alongside their biologically up-growing time-lines; have been carefully recorded into mythological studies. You see, in our Wikipedia article, nine-headed phoenix, snake-body & lady-head - snake-body liked Nüwa (one of Chinese ancestors' Mother Goddess after Father Giant God - Pan Gu's creation - this point I has mentioned before) and Nine-tailed Fox (an evil creature who has nine lives (tails) and destroyed the dynasty Shang of Great Chinese Area by applying its sexy-ability attracting Zhou emperor's minds and destroy King-fate in that period. I can remember Japanese Cartoon culture has also borrowed some elements from this creature's powerful properties, which attracted me very much in my secondary school. You knew, if producing more documentary reviews, Nine-tailed Fox sealed in Naruto's body maybe from one branch of Nine-tailed Fox Family. About this point, we can review some pieces of information in Wikipedia introduction(https://en.wikipedia.org/wiki/Naruto). Indeed, 'Classic of Mountains and Seas' carrying Daoism has some very different but friendly, communicable, interactive and sustainable developments in Japanese culture, which other researchers and learners have already created many topics among two countries. Here, I don't need to mention too much. In 'Dream of the Red Chamber', there is a goddess role whose accident behaviour has great relationships in terms of Bao Yu's out-coming - lady-head & snake-body liked Nüwa. It has been told as: one day upon a time, a hole broken upon our sky ... (About the details, we can review some pieces of information from Wikipedia introduction: https://en.wikipedia.org/wiki/N%C3%BCwa).Bao Yu was merely a piece of left and no-usage jade-stone transformed from one piece Nüwa had applied to mix the hole of the broken sky. I felt very interested about what phenomena of this case were similar to some Bible-recordings - Flood period, serpent-liked goddess (In this time, it's a good lady using her own body to save peoples' lives), Destroy & End, never-ended blazing fires etc.

--Jason M. C., Han (discuss • contribs) 12:59, 13 August 2016 (UTC)