"A dream of red mansions" written by a large and filled the tragedy story. The family tragedy, the shadow of a dream of red mansions all tragedies. In a dream of red mansions of tragedy, the bao of tragedy, because Chai twelve characters, most of the true, the good and the quality and become a tragic hero. But JiaFu power levels of decline is ultimately tragic nature? This actually relates to a kind of social phenomenon and social system of historical destiny and value problem, namely, a tragedy and the unity of history. From the historical tragedy and the same class, declining, fall the destruction of the system also has a tragic. Hegel's philosophy and aesthetics in western aesthetes, most of philosophers. The tragedy of Hegel's view of history is the important component. In the history of the development of his thoughts, in dialectical relationship with the theory of tragedy is directly under the two ideas are: first, he thought, "who is the reality that the reasonable, reasonable is realistic;" Second, he thinks the development of world history is the social form to advanced social form. And from the development and change of the eye, there is the rationality and necessity, finally will lose its existence rationality, become unreasonable. Marx and Engels is the tragedy of Hegel sublation of tragedies. For before a unreasonable tragedy, Marx points out its nature is the inevitable requirement of "history with the requirements may not happen in the conflict between the tragedy;" But after an unreasonable to emphasize its FuXiuXing, when Marx, called "; "farce After a while emphasizing on its value of unreasonable self-confidence, Marx is called the tragic: "when the old system since ancient times, there is the world power, and freedom but was suddenly thought of ideology, the others - in other words, when the old system itself and should also believe that is reasonable, the old system of history is the tragic." Since the middle of 20th century (1), China's theory of tragedy in a most unreasonable, whether realistic aesthetic or subjective philosophy, aesthetics of emerging -- to the future of humanity, and the tragedy of historical trend. Life operation However, Chinese classical writers and works for the evaluation, after a "unreasonable" tragedy must be equal attention. In a dream of red mansions ", especially such. If the subjective philosophy of tragedy, and is designed to emphasize tragedy and existence of the same value experience, experience, marxist philosophy of tragedy, it is the historical tragedy and to emphasize the same, but this "history is the pursuit of his purpose of activity", hence, the tragedy of marxist historical interpretations on architectural development and social relations and economic relations on the basis of the analysis. With the essence of tragedy from the historical link up interpretation of a dream of red mansions tragedies, we can notice "a dream of red mansions" the tragedy of the rich connotation. From the society, we'll split noticed the class struggle, "From the inevitable requirement of history with the requirement of virtually impossible realization of the conflict between the tragic", we can notice of a dream of red mansions "liberation" (or suitable unfettered) historical plight, From the perspective of alienation, this kind of tragedy in a dream of red mansions is more common, the Angle of the subject to transcend.

没读过英文，外国人看英文版红楼梦，也没觉得特别好，红楼梦里的古诗词，意境，不是英文能翻译的出来的

可以吗可可注册单身汉服务器炸了啊啊啊啊！你们是同学会员号了？你是谁吗啡~

http://jiaoyu.139.com/apps/actwrite/index.php?s=/Index/content/id/270531
大家可以上这个网站看看，顺便投他一票，我觉得他写的还行

红楼梦—褪不去的一抹灿烂
——读《红楼梦》有感

书中有诗云：“悲喜千般同幻泡，古今一梦尽荒唐。浮生着甚苦奔忙，盛席华筵终散场。”红楼梦，再怎么繁华阑珊，终究是一纸荒唐的大梦。
梦，是一种不实际的东西。它就好似泡沫，随时都可能一碰就碎。有首小野小町的日本和歌曾说过：“ 梦里相逢人不见，若知是梦何须醒。纵然梦里常幽会， 怎比真如见一回 。” 意思就是与其相见不如在梦里相见。梦确实很美好，但同时它又很虚假，华丽也许只是它的表面。可为什么人总喜欢活在梦中呢？恐怕人的现实总是残酷的，对于那些无法实现的东西更为憧憬。而红楼梦就是名副其实的一场被包装得华丽无比的空梦。
早就听闻《红楼梦》有四大名著之一的美名，如今终于有时间将其细细品尝，实在甚是惭愧。我认觉得这本书好比一壶清茶，若你不仔细去品味它，斟酌它，是体会不到这壶茶深藏不露的甘甜。
《红楼梦》原名《石头记》，这本书是穿插了石头的神话故事开启的，以贾、史、王、薛四大家族的兴衰为背景，写了贾宝玉、林黛玉和薛宝钗三人为主的爱情悲剧，将一个封建贵族家族从繁荣走向衰亡的过程一一叙说。
也许很多人看完了《红楼梦》都在不停为贾宝玉和林黛玉无法相爱相守的悲剧而痛心哀婉。或者讽刺感叹当时世俗封建的黑暗落没和家族之间的复杂与势力斗争。可有句话说：“仁者见仁，智者见智”。我却很欣赏作者写作的艺术手法和书本的艺术价值。
最具有神秘色彩的就是金陵十二钗。作者以如椽之笔，将这样一大批红粉丽人，一个个推倒了读者的眼前，让她们在大观园那座人生大舞台上尽兴地表演了一番，然后又一个个接连落幕，演绎着一幕幕动容的悲剧美。但是里面描写的少女，特别是那些不含杂质的少女的人性美感，让人产生一种又爱又恨的朦胧感情。楚楚动人又喜爱争风吃醋的林黛玉，才华横溢又有些心眼的薛宝钗，温柔体贴的袭人，狠毒敏锐也有儿女长情的凤姐......都一一展现在读者眼前。
这本书中的细节常让人身临其境,印象深刻。意大利艺术家米开朗基罗曾说过：“在艺术的境界里，细节就是上帝。”最令人着迷的是林黛玉与贾宝玉的细节。某次，一个丫头给宝玉带斗笠，结果戴得乱七八糟，一边的黛玉仔细帮他梳理。其中“轻轻拢住”这个词竟让心里某个柔软的地方产生到一股温柔的感觉。特别的还有十九回里，宝玉在黛玉微困的时候来到，两个人就拿着枕头对面倒下谈话。黛玉看到宝玉脸腮上有块血渍，便伸手去轻抚，心疼地用帕子擦拭。 看的时候，脑子里就真是这般光景，黛玉的柔情蜜意也都淋漓尽致。
里面的伏笔也埋得极为巧妙。第五回贾宝玉就梦到了金陵十二钗，里面书写的诗都暗示了红楼梦中女子们的命运。十三回中在秦氏在病逝之前，王熙凤梦到了秦钟对她托话，秦钟在梦里告诉凤姐贾家的祭祀，家塾应如何经营。“这一切不过是瞬息的繁华，一时的欢乐，盛筵必蔽。”在梦中说完，秦氏就一命呜呼了。其实这里面早就暗示了贾家落没的命运。神话故事作为伏笔的一种，也成为了书中神秘的点睛之笔。开头的“假村语言”添加了神秘色彩。故事别名叫《石头记》，顾名思义就用石头与绛珠草揭示了宝玉和黛玉的身世的“木石前盟”。书中有提及宝钗曾收到一位道士的一把锁，上面刻字暗示要找一位有“玉”的人，这就是宝钗和宝玉两人的“金玉良缘”。很明显，黑暗的封建势力使得“金玉良缘”终究敌不过“木石前盟”。命中注定的悲剧早已深深埋下伏笔。
讽刺也是一大亮点。十二回中，贾瑞迷恋凤姐美色，凤姐聪明地三番四次地放他鸽子，有位道士送贾瑞一面叫“风月宝鉴”的镜子，正面映着王熙凤，反面映着一个骷髅，这也是作者的用心设计，侧面反映贾瑞的人品的丑陋龌龊。以小见大，从小的家族折射出当时18世纪这个社会早就已经矛盾重重，政治黑暗，人性衰莠，贾家只是当时社会的缩影。宝玉虽然集众多宠爱于一身，享受尽荣华富贵，但在婚姻爱情上仍是不自由的。那个时期的清王朝，表面上还维持着繁华，但那“如大厦倾覆”的趋势，却毫不掩饰从各方面暴露无遗。
作者构思精密，语言字斟句酌，每一首诗都是作者的文化精华。书里常常涉及众人论诗的故事。十八回里，贾妃的来到，使得大观园里的景观都需要众人题诗。宝玉，黛玉和宝钗，迎探惜春姐妹都来纷纷对额题诗比较，这种学术文化氛围很让人羡慕。想想古代文人雅士都通过流水传送酒杯来赋诗，叫曲水流觞。这样的文化交流是我们现代无法做到的。手机都代替了话语，连当面交流都难了，更别说交流讨论学术这样高雅的话题。
《红楼梦》既是一支绚丽的燃烧着理想的青春浪漫曲，又是充满悲凉慷慨之音的挽诗。作者在抨击清政府的腐败黑暗同时，也倾心为读者展现了各色主人公酸甜苦辣人生道路，折射表现了社会的深邃与人性美感。《红楼梦》的艺术价值就在于它能体现人生况味，与读者能有心灵沟通，让人能够打心里为那个人物感动怜惜。这种心灵的颤栗与感动，在今世仍有巨大的魅力。
ps：这是我高中时代写的，希望能留下点价值ww