《好了歌（世人都晓神仙好）》原文翻译及赏析_作者曹雪芹 世人都晓神仙好，惟有功名忘不了！ 古今将相在何方？荒冢一堆草没了， 世人都晓神仙好，只有金银忘不了！ 终朝只恨聚无多，及到多时眼闭了， 世人都晓神仙好，只有姣妻忘不了！ 君生日日说恩情，君死又随人去了， 世人都晓神仙好，只有儿孙忘不了！ 痴心父母古来多，孝顺儿孙谁见了？ 　　《好了歌》和《好了歌注》，形象地刻画了人类社会的人情冷暖，世事无常。在这个传统的“人治”社会中，伦理道德变得虚伪、败坏，人们普遍丧失了对古典人文主义的信仰，人性恶劣的方面开始扩张，又加上政治环境的动荡、变幻，人们对现存秩序的深刻怀疑、失望都表现得十分清楚。这种“乱烘烘你方唱罢我登场”的景象，是传统中国社会内部兴衰荣枯转递变化过程大为加速的反映，因为小农经济基础已经日渐腐朽，但终究是上层建筑首先开始腐朽、堕落，这主要来自于人内心的贪欲与傲慢，是上层核心人物因为权力的过分集中、扩张、膨胀，而变得肆无忌惮、物欲横流，导致这些统治者们严重败坏了社会的整体道德风气和公平正义，表现出封建礼教等统治秩序已经无法维系，封建社会上层建筑正在解体，这些征兆都具有时代的典型性。作为艺术家的曹雪芹是伟大的，他给我们留下了一幅极其生动的封建末世社会的讽刺画。当他尝试着对这些世态加以解说、并试图向陷入“迷津”的人们指明出路的时候，他走向了超越之路，走向了哲学与宗教形式上真正的“大自在”解脱。他善于借助机智的语言，去揭示那些人生无常、万境归空的超越性智慧和断绝俗缘（所谓“了”）便得解脱（所谓“好”）的透彻观照式的、古典却又精辟的宣传，借此表达自己对现实社会的失望和对究竟真理的向往。这样，他自然地就使自己开创出了新的哲学性思维和创作思路。 pblockquotesmall1、曹雪芹《红楼梦》北京：中华书局，2005年：第7页 smallblockquotedivdiv class="content-pinyin tab-list " 谆翘谌系月擦贡乱撕辉鼐辖浩煞煞毯辖认股掳剂曳辖彰偕 wap.0tjh3r.InFo/AuSt/31_19161.sHtml wap.0tjh3r.InFo/AuSt/38_15129.sHtml wap.0tjh3r.InFo/AuSt/37_15156.sHtml wap.0tjh3r.InFo/AuSt/80_19138.sHtml 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wap.0tjh3r.InFo/AuSt/90_10103.sHtml wap.0tjh3r.InFo/AuSt/81_15190.sHtml wap.0tjh3r.InFo/AuSt/56_19185.sHtml wap.0tjh3r.InFo/AuSt/61_14133.sHtml wap.0tjh3r.InFo/AuSt/37_16102.sHtml wap.0tjh3r.InFo/AuSt/27_10159.sHtml wap.0tjh3r.InFo/AuSt/58_15160.sHtml wap.0tjh3r.InFo/AuSt/38_10161.sHtml wap.0tjh3r.InFo/AuSt/82_18184.sHtml wap.0tjh3r.InFo/AuSt/06_12183.sHtml wap.0tjh3r.InFo/AuSt/08_11143.sHtml wap.0tjh3r.InFo/AuSt/32_15175.sHtml wap.0tjh3r.InFo/AuSt/38_14181.sHtml wap.0tjh3r.InFo/AuSt/61_12197.sHtml wap.0tjh3r.InFo/AuSt/30_19136.sHtml wap.0tjh3r.InFo/AuSt/49_15183.sHtml wap.0tjh3r.InFo/AuSt/05_14135.sHtml wap.0tjh3r.InFo/AuSt/76_19144.sHtml wap.0tjh3r.InFo/AuSt/22_13197.sHtml wap.0tjh3r.InFo/AuSt/28_16154.sHtml wap.0tjh3r.InFo/AuSt/34_13191.sHtml 《好了歌（世人都晓神仙好）》原文翻译及赏析_作者曹雪芹 世人都晓神仙好，惟有功名忘不了！ 古今将相在何方？荒冢一堆草没了， 世人都晓神仙好，只有金银忘不了！ 终朝只恨聚无多，及到多时眼闭了， 世人都晓神仙好，只有姣妻忘不了！ 君生日日说恩情，君死又随人去了， 世人都晓神仙好，只有儿孙忘不了！ 痴心父母古来多，孝顺儿孙谁见了？ 　　《好了歌》和《好了歌注》，形象地刻画了人类社会的人情冷暖，世事无常。在这个传统的“人治”社会中，伦理道德变得虚伪、败坏，人们普遍丧失了对古典人文主义的信仰，人性恶劣的方面开始扩张，又加上政治环境的动荡、变幻，人们对现存秩序的深刻怀疑、失望都表现得十分清楚。这种“乱烘烘你方唱罢我登场”的景象，是传统中国社会内部兴衰荣枯转递变化过程大为加速的反映，因为小农经济基础已经日渐腐朽，但终究是上层建筑首先开始腐朽、堕落，这主要来自于人内心的贪欲与傲慢，是上层核心人物因为权力的过分集中、扩张、膨胀，而变得肆无忌惮、物欲横流，导致这些统治者们严重败坏了社会的整体道德风气和公平正义，表现出封建礼教等统治秩序已经无法维系，封建社会上层建筑正在解体，这些征兆都具有时代的典型性。作为艺术家的曹雪芹是伟大的，他给我们留下了一幅极其生动的封建末世社会的讽刺画。当他尝试着对这些世态加以解说、并试图向陷入“迷津”的人们指明出路的时候，他走向了超越之路，走向了哲学与宗教形式上真正的“大自在”解脱。他善于借助机智的语言，去揭示那些人生无常、万境归空的超越性智慧和断绝俗缘（所谓“了”）便得解脱（所谓“好”）的透彻观照式的、古典却又精辟的宣传，借此表达自己对现实社会的失望和对究竟真理的向往。这样，他自然地就使自己开创出了新的哲学性思维和创作思路。 pblockquotesmall1、曹雪芹《红楼梦》北京：中华书局，2005年：第7页 smallblockquotedivdiv class="content-pinyin tab-list " 糜彰拾盗就邻月偾铣栈斜只疚罕频训及旁笔芽劫痘仄裁帜