Prodigal Son (III): If you cross the track once, you can become a hero at that time. If Guan Hanqing is standing on the side of the commoners and resisting the tyranny and ugliness in reality; then Wang Shifu uses talent

Prodigal Son (III): If you cross the track once, you can become a hero at that time.

If Guan Hanqing is standing on the side of the commoners and rebelling against the tyranny and ugliness in reality; then Wang Shifu uses the form of a talented and beautiful person to resist the hegemony and barbarism in the concept of cultural tradition. The theme of "The Tale of the West Chamber" is really very fat and pink on the surface, and the pair of men and women Zhang Sheng and Yingying also seem to be a little weak and can't help the wind, but their behavior is extremely rebellious, and their courage and strength lie in their courage to be led by lust and combine in private. It's funny to say: they fulfill their lusts and become rebellious heroes, which is a good deal. The truth is that Wang Shifu really wants to tell us that in such an inhuman era, under such an inhumane culture and morality, we accept the guidance of our own passions and practice "humanity", and the more we track, the more we can become heroes. And Zhang Sheng and Yingying the place where they had such an affair was the Buddhist temple of the "solemn and wonderful realm", and the time was during the funeral of Yingying's father, Wang Shifu was also mean - of course, this is also a manifestation of extermination.

Of course, Wang Shifu's "Records of the West Chamber" comes from Yuan Shu's "Huizhen Ji" of the Tang Dynasty, and later through dong Xieyuan's "Notes of the West Chamber" of the Jin Dynasty, he is recreated on the basis of his predecessors, from novels (legends) to rap literature, to him, it has become a drama. "May all the lovers in the world become dependents", this is the shocking sound of that era, and it is the return of human nature. Contrary to the increasingly anti-human tendency in philosophy, literature has always been the last refuge of human nature.

Like Wang Shifu's "Records of the West Chamber" is derived from the Tang Dynasty, Bai Pu's "Wutong Rain" writes about the love of Li Longji and Yang Yuhuan, derived from the real events of the Tang Dynasty (in fact, the motif of the "West Chamber" - Yuan Shu's "Hui Zhen Ji" is also an autobiographical nature of real people and real events), as well as a large number of related works of the past dynasties, including Bai Juyi's "Long Hate Song". "Wall Head Horse" also comes from a poem by Bai Juyi, "Silver Bottle at the Bottom of the Well", and also made a reunion transformation in the ending. Along with Guan Hanqing and Bai Pu, who are included in the four major yuan operas, Ma Zhiyuan (the other is either Wang Shifu or Zheng Guangzu), who has a play "Autumn of the Han Palace", which has been extended from the Tang Dynasty to the Han Dynasty. The more ancient theme is Ji Junxiang's "Orphan of Zhao", which is a real historical tragedy and historical drama recorded in "Zuo Zhuan" and "History of Zhao Shijia", and its facts themselves already have some basic elements of drama, the plot is tense and compact, the contradictions are fierce and sharp, and the characters are generous and tragic. Wang Guowei's "Song and Yuan Opera Examination" juxtaposes it with Guan Hanqing's "Dou E'e Grievance" and says: "Although there are evil people in the play, those who go to the fire are still out of the will of their masters, even if they are listed in the great tragedies of the world, they are not ashamed." Indeed, on the emotional and exhilarating strength of tragedy, and the depth of the exploration of the tragic theme of the world and life, these two dramas are indeed the most outstanding in meta-miscellaneous dramas.