（来源：市场星报） 【山桃红】则为你如花美眷，似水流年，是答儿闲寻遍。在幽闺自怜。小姐，和你那答儿讲话去。（旦 作含笑不行）（生作牵衣介）（旦低问）那边去？（生）转过这芍药栏前，紧靠着湖山石边。（旦低 问）秀才，去怎的？（生低答）和你把领扣松，衣带宽，袖梢儿揾着牙儿苫也，则待你忍耐温存一晌 眠。 这曲【山桃红】虽说多是对话，但开篇几句诗语便为对话营造了节凑，真乃抒情意味凸显，诗意盎然。 与古典小说叙事形态同理，如果说"戏曲表面是讲故事，深层次仍然是要抒发自己的情感"，那么以此类 推，与戏剧相似的小说自然也在这一原理之中。应该说，文学就是情感的载体。诗人、小说家一生都在 悉心侍候自己的思想情感，情生于万物之诱惑，如此才有生命写作的诞生，情滞而文谢，情是妙文之 源。纵然中西方文学观念有所差异，但在研究定论文学起源说中，却也有人主张文学起源于情感说，托 尔斯泰就是一个代表。 以中国"诗言志，歌咏言，声依乐，律和声"的文化渊源为考，明清以来的戏曲、小说的真正核心还是离 不开一个"情"字，正如童庆炳所说，"明清以来，戏曲、小说作品的大量出现，从表面看，似乎离开了 抒情传统，转向了叙事方面。其实也不尽然。因为第一，明清两 ...

记者 诸葛漪 天蟾逸夫舞台总经理潘熠文介绍，贯穿2026年全年的"百年天蟾"系列活动以"演展、服务、环境、 内控"四大板块为框架，全面提升剧场艺术呈现、服务、空间优化与内部管理。"除京昆群英会、京剧名 家名段演唱会以及'乾旦坤生女花脸''东西南北中·皮黄振蟾宫''天蟾书会'等专题演出外，还推出剧场史 料展、场史专题讲座、全国戏曲院团长及剧场经理论坛、艺术普及教育活动、线上直播推广、特色文创 产品开发等一系列延伸项目，增强观众的沉浸式体验与文化获得感。" 马年新春，上海杂技团第一次将动物演员带到商区，马戏沉浸式体验闪现大宁国际、张园等商业地 标。"《时空之旅2》《欢乐马戏》《精灵宝盒的秘密》三大驻场演出新春期间演出34场，接待观众2万 余人次，票房收入近300万元。"上海杂技团团长梁弘钧表示，"我们还参与静安区'策马迎新，邂逅静安 ——奔马戏春风'系列主题迎新活动，在上海马戏城、大宁国际商业广场、大宁音乐广场、大宁公园、 张园、永源路街区六大点位演出55场，线下观众超10万人次。" "越剧名家赵志刚领衔主演的《红楼梦》都卖完了。"昨天，宛平剧院工作人员表示，借着春节长假 一连三晚不同版本、阵容《红楼梦》的高人气 ...

（来源：上观新闻） 王夫之论诗，特别反对诗与史的混淆。他说："夫诗之不可以史为，若口与目之不相为代也，久 矣。"（《姜斋诗话·十二》）他认为杜甫是蓄意将诗史混淆的人，批评杜诗"于史有余，于诗不足"，而 那些以"诗史"吹捧杜诗的人，则是"见驼则恨马背之不肿"的无知之辈——"是则名为可怜悯者"（《古诗 评选》卷四）。 现代史家陈寅恪解陶渊明的《桃花源记》，正是以史解诗、视诗为史的"见驼恨马"的态度。他的《桃花 源记旁证》称："陶渊明《桃花源记》寓意之文，亦纪实之文。"陈寅恪动用其史家的全套技术，花了大 力气，要考察出"桃花源"的实地，就是要在马背上安装一个驼背。寅恪先生对桃花源的"实查"自然不能 成功。不惟他老人家失败了，而且所有解陶诗的驼背功夫都失败了。 有一个很通常的道理，似乎大史家寅恪先生忽视了：如果陶渊明笔下的桃花源真的存在，他自己还 不"携妻子与邑人来此绝境，不复出焉"？要知道，桃花源的景状是："黄发垂髫，并怡然自乐。见渔人 乃大惊，问所从来，便要还家，设酒杀鸡作食。"而陶渊明自己的处境却是："凄厉岁云暮，拥褐曝前 轩。南圃无遗秀，枯条盈北园。倾壶绝余沥，窥灶不见烟。诗书塞座外，日昃不遑研。闲居非陈厄， ...

◆阿 乙 满纸荒唐言，一把辛酸泪。曹雪芹绝不会想到，两个多世纪后，他的《红楼梦》会在自媒体平台上演狂 欢。 《红楼梦》作为中国古典小说的巅峰，自问世以来便伴随着解析与争鸣。红学始终是颇有门槛、专业严 谨的显学，学者们在典籍和期刊中构建起了一套对话体系。然而，随着短视频与直播时代的到来，红学 正经历着一场前所未有的下沉与重构。面对这部被誉为封建社会百科全书的巨著，人们在今天找到了千 万种的打开方式。 在各个自媒体平台上，红楼UP主层出不穷——从一分钟的人物点评到长达450分钟的深度解析，创作者 的背景迥异，无论是相关专业的学术权威，抑或是完全没有高等教育经历的草根素人，正各抒己见，为 这部名著写下独一份的注脚。 许多标题党式内容动辄使用"独家""重大发现""震惊"等夸张词语，提出未经证实的观点：或对人物关 系、作者背景等作出断言性解释；或以过度简化，甚至断章取义的方式解释文本；将作者生平与传说模 糊混同……都缺乏可信史料支持，极易让不熟悉原著的受众产生误解。 还有某些内容创作者倾向于用现代情感逻辑生搬硬套，把人物性格"标签化"，诸如"薛宝钗就是现实主 义代表""王熙凤是现代女强人典型"等，试图强加入当代价值观。 ...

2026年的高源，你好！ 我是2025年的自己，哈哈，好有趣哦，我要给我未来的自己写信了。 明年我就9岁了，想起7岁的时候，爸爸妈妈带我来到实验小学亚欧校区，我有点胆小，因为不知道小学 生活是怎么样的，现在的我能高高举起手，大声的回答老师的问题，还交到了好多好朋友。 （来源：南湖晚报） 转自：南湖晚报 N嘉兴市实验小学亚欧校区202班 高源 2026年，我想让自己变得更棒，我特别喜欢读历史故事，可能和小时候爸爸老是给我讲古代故事的缘 故，以前很小的时候爸爸给我讲，我听不懂，现在我二年级了，有点理解能力了，我就特别喜欢读三 国。三国让我知道了诸葛亮的聪明，他上知天文，下知地理；吕布的勇猛，还有他的坐骑赤兔马，日行 千里；曹操除了是个军事家，还是个诗人。明年我就长大一岁了，爸爸和我说，我们有四大名著，有 《三国演义》《水浒传》《西游记》《红楼梦》，明年我争取要全部看一遍。这样我就可以和爸爸比赛 历史知识了。 ...

Core Viewpoint - The article discusses the significance of classical Chinese prose, particularly focusing on the work "Xiangji Xuan Zhi" by Gu Youguang, highlighting its narrative depth and emotional resonance, as well as the historical context in which it was written [2][3]. Summary by Sections Historical Context - The peak of classical Chinese prose is generally considered to be during the Tang and Song dynasties, with a decline in quality during the Ming and Qing dynasties, where the genre faced challenges from more popular forms of literature [3][4]. Analysis of "Xiangji Xuan Zhi" - The text is divided into two parts: the main narrative written at the age of eighteen and a supplementary section written at thirty-five, reflecting on the author's experiences and emotional growth over seventeen years [4][5]. - The author employs rich imagery and contrasts to depict the transformation of his living space, emphasizing the importance of environment in shaping one's intellectual and emotional life [5][6]. Themes of Family and Loss - The narrative explores themes of family disintegration and personal loss, particularly focusing on the impact of familial changes on the author's psyche and literary expression [6][7]. - The author reflects on his relationships with his mother and grandmother, revealing the weight of familial expectations and the emotional burden of loss [8][9]. Emotional Expression - The supplementary section poignantly conveys the author's deep sense of loss for his deceased wife, using subtle narrative techniques to express profound emotions without overt declarations [10][11]. - The imagery of the loquat tree planted by his wife serves as a powerful symbol of memory and grief, encapsulating the enduring nature of love and loss [12][13]. Conclusion - The article concludes by emphasizing the lasting impact of personal experiences on literary creation, illustrating how the author's reflections on his life and relationships contribute to the richness of classical prose [14][15].

（来源：天津日报） 《红楼梦》第五十六回，贾宝玉梦中的甄宝玉描述自己在梦中见到的贾宝玉是"空有皮囊，真性不知那 去了"，也许正是暗示贾宝玉徒有形貌而已。此外，袭人解释宝玉之所以梦迷了，是镜子里照了他的影 儿——学者也经常说书中人物谁是谁的"影子"——这里看上去贾宝玉是本体，梦中的甄宝玉是他的影 子，但其实也许正暗示相反的内涵，因为在红楼大梦中，"真"的反而正是贾宝玉。脂砚斋批语中 说，"凡写贾宝玉之文，则为'真宝玉'传影"，不也正是说贾宝玉是甄宝玉的影子吗？有学者依据神瑛之 名推测贾宝玉大名为"贾瑛"，那么甄宝玉就该是"甄瑛"了吧？ 有朋友会问，雪芹写这些神话，也许本就未必周密，倒腾这些玄虚的关系，本无切实的依据，又有什么 意义？我想，这和我们如何理解宝玉这个人物，以及作者的主旨还是息息相关的。甄宝玉正式出现，已 经在后四十回，他究竟如何，已经无从肯定，或许根本不是现行本所描述的状态。但《红楼梦》这个悲 剧中，付出了最大的悲恸和最多的泪水而用一生去偿还情债的林黛玉，如果哭错了对象，被石头及其幻 形窃取了真情，在这荒诞之中，不也正形成了另一种悲剧中的悲剧吗？ 当然，学者找到了不少贾宝玉和神瑛之间的共性，比如爱红 ...

Core Viewpoint - The Jiangsu Provincial Dream of the Red Chamber Society conducted a public welfare activity at Yincheng Kangyang, promoting the classic novel "Dream of the Red Chamber" and distributing books to the elderly [1][7]. Group 1 - The relationship between "Dream of the Red Chamber" and Nanjing is emphasized, with the author being from Nanjing and the story reflecting Nanjing's life, making it a cultural symbol of the city [3]. - The event aims to provide academic wisdom and artistic inspiration, enhancing cultural engagement in elderly care [4]. - The activity included performances such as recitations and operas, showcasing the cultural richness associated with "Dream of the Red Chamber" [6]. Group 2 - This event is part of a series of promotional activities by the Jiangsu Provincial Dream of the Red Chamber Society, with plans for future events to further deepen the public's understanding of classic literature and promote traditional culture [7].

Core Viewpoint - The article emphasizes the transformative power of reading and suggests a curated list of highly-rated books that can enhance personal growth and perspective by 2026 [5][61]. Summary by Sections Book Recommendations - **The Little Prince**: A tale of simplicity and purity, contrasting the complex lives of adults with the carefree existence of a child, encouraging readers to embrace a childlike spirit [6][10][12]. - **To Kill a Mockingbird**: Highlights the dangers of prejudice and the importance of empathy, urging readers to rise above biases and focus on personal growth [16][19]. - **Love in the Time of Cholera**: Explores the theme of perseverance in love and self-improvement, suggesting that facing challenges can lead to personal fulfillment [20][25]. - **Poor Charlie's Almanack**: Shares Charlie Munger's principles of lifelong learning and adaptability, stressing the necessity of continuous education in a rapidly changing world [34]. - **One Hundred Years of Solitude**: Chronicles the rise and fall of the Buendía family, illustrating the inevitability of solitude and the cyclical nature of life [36][41]. - **The Sunflower**: A narrative about resilience and hope, encouraging readers to persist through difficulties and strive for personal growth [38][40]. - **Dream of the Red Chamber**: A classic that reflects on the transient nature of life and the futility of human desires, advocating for acceptance of fate [41][43]. - **The Three-Body Problem**: A science fiction narrative that critiques human arrogance and emphasizes the need for self-reflection and humility in the face of challenges [45][46]. - **The Brothers Karamazov**: Explores the complexities of human nature and morality, urging readers to maintain a cautious perspective on human relationships [47][49]. - **Siddhartha**: A philosophical exploration of life's purpose and the journey of self-discovery, encouraging readers to find meaning in their experiences [51][56].

Group 1 - The core viewpoint of the articles indicates that the Chinese performance market is experiencing robust growth, with significant increases in both the number of performances and box office revenue for 2025 [1][2] - The total number of commercial performances in China for 2025 is projected to reach 640,400, representing a year-on-year growth of 6.58% [1] - Box office revenue for the same year is expected to be 61.655 billion yuan, reflecting a year-on-year increase of 6.39% [1] Group 2 - Large-scale performances (over 5,000 attendees) are anticipated to generate box office revenue of 32.448 billion yuan in 2025, driven by supportive local policies and the integration of performance projects with regional tourism [1] - The musical theater segment is expected to see a box office revenue increase of 7.55% in 2025, highlighting a growing market for this art form [2] - The tourism performance sector is projected to achieve box office revenue of 17.442 billion yuan in 2025, indicating its significance in the overall performance market [2]