浮生着甚苦奔忙，盛席华筵终散场。
悲喜千般同幻渺，古今一梦尽荒唐。
漫言红袖啼痕重，更有情痴抱恨长。
字字看来皆是血，十年辛苦不寻常！
——《红楼梦·第一回·凡例》
In "Dream of the Red Chamber", slaves and servants are also divided into three, six, nine and so on.
当然，最不服这个等级制度的算是晴雯，之前我已发表了关于她的文章，今儿来聊聊鸳鸯和小红。
鸳鸯和平儿、袭人、司棋、紫鹃等人均属一等大丫头，如晴雯、麝月、彩云、玉钏、翠墨等人属二等，如小红、茜雪、莲花、四儿（原名蕙香）、柳五儿等人就属三等了。
Ping'er and the raiders are still the big guys in the room, that is, "would-be aunts and grandmothers". 也是“周瑞家的”口中称的“副小姐”，大观园小厨房管事媳妇柳嫂子嘴里说的“二层主子”。
鸳鸯本也可以奔这些个名头去的，但因从小跟着贾母，又比其他房里的丫头格外有些“体面”。
Therefore, she slowly had some sense of self-esteem and self-love, and when Jia Yu looked at her, she resolutely refused to follow. Her brother-in-law came to beg her, and Mandarin Duck said a famous saying: Song Huizong's eagle, Zhao Ziang's horse, are all good paintings(words)!
This is to ridicule her brother and sister-in-law for saying that there are "good words" to her, and Mandarin Duck knows that Jia Yu wants to marry her as a little wife; the second also shows Mandarin Duck's extraordinary temperament and insight.
故鸳鸯还说：“别说是让我当小老婆，就是大太太（即邢夫人）这会子死了，三媒六证的娶我做大老婆，我也不能去！ ”
非但如此，曹雪芹在“鸳鸯女誓绝鸳鸯偶”这一回书中，还特特的安排了袭人、平儿与鸳鸯三人在大观园里的一番会话的情节。
袭、平还拿鸳鸯打趣，一会说将她许给贾琏，一会又说把她配给宝玉。 鸳鸯义正辞严：“你们自以为是得了结果的，将来是要做姨娘的。 据我看，这天下的事未必都遂心如意，你们且收着些，别忒乐了过了头！ ”
等她嫂子来了，鸳鸯又骂她嫂子为“九国贩骆驼”的。 后来，其哥嫂在贾赦的威逼利诱之下，不得不再去求鸳鸯。
她便大胆闹到贾母那里，绞头发、发毒誓明志。 贾母大发雷霆，讲的话也很有反讽的意味。 贾赦、邢夫人最后只得作罢。
这些言行表现，其一，表明了鸳鸯不愿意依附男人而活，也非常清楚做小老婆并没有好结果，且还会让别人“鸡犬升天”；其二，她早已看破了贾府里上上下下这些老爷、太太、媳妇儿、奴才们的德性，更见其独立自强，不随波逐流的志向。
只可惜，老太太去世，贾府也被抄家后便“乱世为王”起来，鸳鸯就成了无本之木，也很难再“独立”下去。
Similar to the Mandarin Duck, another person who has a great sense of independence and autonomy is Xiaohong, the "third-class girl".
Her real name is Lin Hongyu, she is the daughter of Lin Zhixiao, one of the housekeepers of Jia Province, and the "Lin Zhixiao Family" (that is, Lin Zhixiao's wife) is responsible for the daily management of the Grand View Garden.
Like the Mandarin duck, Xiaohong is also a "family child", that is, a child born of a slave, that is, a "house slave". She also has a famous saying: a long tent is built for thousands of miles, and there is no feast that does not disperse, but in three years and five years, everyone will do their own thing.
This was said after Xia'er complained to her, because Jia Baoyu was cured by Aunt Zhao's aunt Wei Zhen, and the head "waited" to reward the servants in Baoyu's room, and Xiang'er felt unfair, Xiao Hongfang said.
This pendant is also a fourth-class little girl, I mentioned her when I talked about Qingwen before, because she later stole Ping'er's shrimp whisker bracelet and was driven out of the Grand View Garden by Qingwen.
Xiao Hong's words became a proverb, and indeed three or five years later, Jia Fu said, "After the three springs are gone, all the fangs are exhausted, and each must find its own door". Yu read it, and I had to admire Cao Xueqin's painstaking ingenuity.
Because this daigo-inspiring sentence is from the mouth of a third-class servant who does not seem to understand the world, it makes people feel deeply meaningful.
Earlier, Xiaohong only accidentally poured a sip of tea for Baoyu, and was insulted by Qiu Wen and Bi Chen, saying that she was not worthy of pouring water with tea. Xiaohong understood that the place of Yihong Courtyard was "difficult to stand", so she turned her heart sideways and took the initiative to "leave a handkerchief" to boldly pursue Jia Yun, and finally achieved positive results.
Jia Yun is the righteous grandson of Jia Rong's contemporary, but his parents are no longer there, and he is dependent on his uncle for his life. Later, with his own personality and talent, he took over the work of planting flowers and trees in the Grand View Garden.
When Jia Baoyu went out that day, he happened to meet him and Jia Lian begging, and he also recognized him as a dry son. After Jia Yun entered the Grand View Garden, he did not forget to carefully cultivate a few begonia flowers to give to Baoyu, which led to the story of the Begonia Poetry Society.
Xiaohong was later valued by Wang Xifeng for her outstanding eloquence, so she transferred to Sister Feng, and she was also considered to be "climbing a high branch". Since then, the two people have lived their own little lives.
In the end, after Jia Fu was raided, Yun and Hong also went to the prison temple to visit Jia Baoyu, and at this time, Baoyu and Fengjie were already "phoenixes with falling hair are not as good as chickens".
However, Xiaohong still insists on serving Sister Feng in prison, which can be described as affectionate and righteous, and it is also an irony to those who looked down on her in the past. At this time, Qiu Bi did not know what the end was.
Even the raiders only remarried Jiang Yuhan, and her "dream of aunt and grandmother" who "ate and dressed the same as her master" and could also call slaves to make her maids shattered.
Of course, Gao Yan tampered with Cao Gong's original intention, and wrote in the last forty times that Jia Yun, Jia Huan, and Wang Ren colluded to kill Sister Qiao and became a "fierce uncle and adulterous brother", which was completely a fabrication of Cheng Gao's generation.
I think that whether it is Mandarin Duck or Xiaohong, although they are "born in the family", they are not willing to accept the arrangement and manipulation of the fate of slaves, and dare to choose their own life and future, which is very valuable.
曹雪芹在《红楼梦》里写这些丫头们，也是满含着一腔深情的，并寄予了自身（也暗含历史上的曹家亦为包衣奴才之出身）厚重思想的表达和对于革新现实社会的殷切期望。
Even if the birth cannot be chosen, the environment in which they grew up cannot be chosen, and the cultural shackles of the surrounded humane hierarchical society are even more difficult to break through. However, in the end, everyone's life and future are still their own business.
Rather than saying that individual people can never escape the so-called manipulation of fate, it is better to say that in the face of weakness and bravery, most people consciously or unconsciously choose to compromise first.
这种妥协和软弱，以袭、平为代表，恰是中国人主奴综合特质的社会性人格，在中国传统社会，在《红楼梦》里即是贾府各色人物的具体表现。
From the point of view of human nature, no one is really willing to be a slave. However, in the face of the "law of survival" under the dual role of the hierarchical system and the human society, Chinese "master and slave", and few people can break free.
In the book, not only are they as good as the raiders, who are willing to be slaves for the so-called good life; there are also people like Liu Sister-in-law, who in order to send their daughter Liu Wu'er to Yihong Courtyard, looking for Chunyan and asking for Fangguan, in the end they killed Wu'er.
Another example is the "Wang Shanbao family", because these mother-in-laws were not welcomed by the big ladies in the Grand View Garden, so they entered in front of Lady Wang, although Qingwen was driven out, but at the same time killed his granddaughter Siqi.
After Siqi went out, it was also a tragic death. This is also what I expounded in the previous article, "slave life" is not necessarily a good life, between master and slave, slave and slave inevitable mutual harm, is the core logic of "master-slave society".
晴雯惨死，鸳鸯最后自尽，不愿当“主子”的正角贾宝玉，亦终是“走出名利无双地，打破樊笼第一关”。
但巨著《红楼梦》给予我们的深刻启示和现实意义，即便在现今看来，也仅仅是个开端罢了。
I would like to ask: Three hundred years later, how many people have actually cut the braids on their heads? 我的答案是：脑袋上的辫子是有形的，早就剪去了；但心中的辫子又粗又长者，还大有人在。
就比如昔年“小诸葛”白崇禧之子白先勇，他评点红楼就对高鹗“兰桂齐芳”的续书大加赞赏，而大陆读者对其奉承巴结者亦在不少。
这些人在刘泽华先生的论著中，也可谓是“新儒家”们的代表，在这些人看来，中国传统的等级社会亦有其多元性和流动性。 就比如平儿，她在得到了主子王熙凤的认可和信任之后，那也是“半个主子”了，也可以发号施令了。
且在五儿被冤枉偷窃之后，那些素日与柳嫂子不和的人就趁机在平儿面前给她上眼药，并送礼给平儿。 也许，在“新儒家”们眼里，这就是“独立自主，竞争上岗”了。
实际上，不管是鲁迅先生批判的中国人的奴性，还是“新儒家”们杜撰的中国人的所谓独立性，实则亦为“主性”，想着当主子实则比想着当奴才更可恨可怕，而此二者相结合即为中国人的主奴综合特质。
这种主奴变换，主奴交替，所谓等级的升降，人才的流动不但没有导致等级制度的消亡，反而使得等级制度更趋于稳定，更具有生命力和影响力。 这也变相解释了中国历史能够不断改朝换代，循环往复两千余年的深刻原因。
当然，一切国家文明及相关的社会、技术、制度都是文化属性和文化思维的产物，“主奴社会”这样的思维方式和行为模式，我在拙作《中国人的文化属性》里头讲的很透彻，这一源自于“礼”，一源自于“仁”。
“礼”决定了人与人的等级关系，“仁”确立了人与人的相处法则。 中国人从来不是具有独立人格意义上的“人”，而是处在由“礼”和“仁”所维系的上下、尊卑、内外等各种等级、差序、利害关系中的“主奴综合体”，即“做人”。
在《红楼梦》里，贾宝玉总爱和丫头们好，连贾母都疑惑他上辈子是不是也是个丫头，却错投了胎。
实则，这是曹雪芹借宝玉与贾府乃至传统社会的种种格格不入，来表达自己对于封建大家族乃至王权等级社会腐朽的本质和必然走向灭亡的深刻理解与反思。
心高气傲的鸳鸯最后悬梁自尽，也包括惨死的晴雯，也是对这样一个虽有具备独立人格特质的、个体的人，亦完全无法真正独立自主、追求幸福生活的社会秩序和生存法则的血泪控诉。
但时至今日，仍然患有传统士大夫“精神病”的所谓学者们，“新儒家”们，还在大肆鼓吹儒家文化的糟粕，甚至对封建等级制度的残渣余孽仍旧歌功颂德，身体力行，这岂非历史的倒退？！
我们可以撕开那层遮羞布，直接点说，“亦主亦奴”是中国古代社会最具有普遍意义的社会性人格，而官僚群体的政治性人格则是主奴综合意识和特质的典型代表。
圣人人格、伟人人格则是“主奴根性文化”的抽象化、理想化、神圣化，这种社会人格是专制主义社会、政治体系得以长期维系的文化根源所在。
这样的文化思维和文化属性所造就的文化“习俗”，淹没了中国人独立人格的产生和发展，摧毁了中国社会的自我组织与建构，这属于典型的“文化的主观方面”，也就是我常说的满嘴仁义道德的“善恶思维”，而不是客观与理性的“是非思维”。
进一步拓展视野的话，我们还能深刻的意识与发现，在“以奴为本，亦主亦奴”的中国传统社会，这样的人格地位和特征显然并不仅仅局限于皇帝、官僚、大地主、大家族、大资本家及士大夫、知识分子阶层。
实际上它具备更广泛的普遍意义，“尽人皆奴”的社会结构、文化结构和泛化的绝对权威崇拜，乃至现今的明星崇拜，网红遍地，亦即“老大思维”，是亦主亦奴人格的更加深层的社会根源和文化土壤。
主奴综合意识和特质寄寓在每一个成年的、社会的、个体的人的灵魂深处，上至帝王将相，下至奴才丫头，概莫能外。
所以，如鸳鸯、小红、晴雯、司棋、林黛玉、贾宝玉这些人物形象和曹雪芹在他们身上所赋予的反叛意义和启迪社会现实的巨大价值，在这里就更加凸显出来了。
然今人仍有娓道孔家糟粕之“人学”妙者，直欲以“内圣外王”引以为今日之中国富强民主自由之“灵丹妙药”，甚而大赞特赞高鹗之续书，完全不解甚至就是诋毁曹公之书的血与泪，这是浑然忘却了礼教杀人、吃人的那一笔笔旧账，更不能与不敢揭破“圣人”“伟人” 乃至“明星”“网红”之质中的主奴根性文化。
鲁迅先生曾怒斥此辈为“现在的屠杀者”，言辞虽激烈，却完全切中要害。
张锋 辛丑深秋写于大理古城