All emotions, in Tang poetry, can find empathy,
It is the joy of "spring breeze triumphant horseshoe disease",
It is the thought of "three springs and three months of remembrance of three bars",
It is the affection of "an inch of acacia and an inch of ash".
Write a grammatical poem by hand to express the true feelings in your heart.
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On the huge stage, a seventeen or eighteen-year-old woman, wearing a moon white sleeved skirt, depicted with long eyebrows and pink face, moved her steps. When she gently opened her lips, she sang quietly:
"It turned out that Zi Yan was red all over the place, and it seemed that all of them were paid with the broken well. Good day beauty, enjoy the pleasure of whose yard! Towards the twilight roll, yunxia Cuixuan; rain silk wind sheet, smoke wave painting boat - Jinping people look at this Shao Guang cheap! ”
Tang Xianzu, the meaning of the word is still the same, a lifetime of "temperament, the eunuch does not reach". In the context of the rise of psychology and the increasing prosperity of temperament, Tang Xianzu reflected on human nature and began to construct his ideal of "supreme affection".
Its "Four Dreams of Linchuan": "ZiChao" writes "a little love obsession", "Peony Pavilion" writes "life and death are more love", "Nanke Ji" writes "a love for one past", and "Handan" writes "a life delayed a love word".
"Zhiqing" has become the soul of Tang Xianzu's philosophical thoughts and literary concepts, and "Peony Pavilion" is the most prominent representative, such as the author's self-description of "four dreams in life, and the pride is only in "Peony""
"I don't know what to do, but I go deeper. The living can die, and the dead can live. Those who are born and cannot be with death, and those who die and cannot be resurrected, are not the most emotional. This passage summarizes the main theme of "Peony Pavilion", and I don't know how many people have been touched.
The core of Tang Xianzu's "theory of affection" is "love". He believes that love is the natural nature of man: "Born with feelings, thinking joy and anger, feeling subtle, flowing and singing, and shaking in form." Or go all the way, or accumulate days and can't rest on their own. ”
And that Du Liniang, who dreamed because of love, died because of dream, died of illness, and was born because of love, also became the embodiment of "supreme love".
In the third play of "Training Women", Du Liniang slowly appeared. As the only daughter of Nan'an Taishou Du Bao, she was "talented and beautiful, and she knew all books"; as a child, she treated her parents with both courtesy and respect, and did not obey; as a female disciple, she treated her mentor Chen with the best kindness and respect.
She read the "Female Commandment" and "Female Training", and at the age of 16, she was still "not allowed to take the swing with her hands, and not allow her feet to step on the garden road." It can be said that at this time, Du Liniang's words and deeds followed the rules of the noble family of virtuousness and virtue. The feudal etiquette of "three from four virtues" stifled and bound the vitality of her youth.
However, no matter how deliberately and cautiously feudal education avoids the word "love", it cannot extinguish Du Liniang's "love" nature as a human being.
Therefore, when Chen Zhiliang interpreted the "Poetry Classic, Zhou Nan Guan Ju" as "the virtue of the queen concubine", Du Liniang intuitively felt that this was a love song describing the love of men and women.
When she read "Lady, Gentleman", she naturally felt the emotion: "The love of the saint is all seen here." Isn't it true that we are all in this and the same place? ”
"Yuan Qingsi blows to idle the courtyard, shaking the spring like a line", Du Liniang, who sneaked to the garden, faced with the spring light of the purple and red, and could not help but issue an exclamation of "if you don't go to the garden, how do you know that the spring color is as promised".
However, such a beautiful color is not appreciated by anyone, and the spring colors are scattered and the scenery is depressed. Behind the prosperity of the garden, there is infinite desolation.
She couldn't help but think of herself, living in the boudoir, empty like a flower, but she could only look at the shadow and pity herself. Watching her youth pass away like spring, she could do nothing, and the emptiness of life followed.
"The year is over, and it is not allowed to become a good match early, and it is sincere to waste youth." Time is like a gap in the ear, but unfortunately the color of the concubine's body is like a flower, and it is expected that her life is like a leaf! ”
The visit to the garden made her heart, which had always been shackled by feudal etiquette, have a gap. The yearning for love and love finally made her have a lingering feeling in her dream, and she could not extricate herself.
The appearance of Liu Mengmei in the dream allowed Du Liniang, who was already emotionally budding, to find a place of sustenance. "I don't know what to do, I go deeper", the emotions that have been suppressed for a long time finally gush out like a volcano, and I can't control it.
But the dream is a dream after all, after waking up from the dream, Du Liniang, full of sorrow, has a "dream" out. She came to the garden again, but only saw "what she dreamed yesterday, the pond pavilion is like", the object is still there, and no one is seen.
In order to show this "love", Tang Xianzu almost extremely let Du Liniang miss each other because of love, seek love because of lovesickness, and die because she cannot find love. "The wind and rain are heavy, and the delicate and sick are sad", finally on a late autumn rainy night, Du Liniang's fragrant soul was gone.
In the "Dream Hunting" drama, du Liniang's love is epitomized.
She poured out her deep affection to the plum tree, the symbol of Liu Mengmei, and made a vow: "Occasionally, the heart is like a wisp, the side of the plum tree." Such flowers and plants are loved by people, and life and death follow people's wishes, and no one complains. To be beaten and incense the soul, rainy plum day, keep a megan to meet. ”
In the dream, Du Liniang is bold, she can throw off all the shackles of the world and show the truest emotions in her heart. After death, she became a ghost, and almost completely removed the chains bound to her by feudal etiquette.
For the sake of "love", she dared to leave the underworld and re-set foot on the human world, just to find a proud person. She boldly and enthusiastically meets and falls in love with Liu Mengmei and makes a white-headed alliance together.
It is also this true feeling and persistence that allows her to finally break the gap between life and death, from birth to death, and then from death to life. The "love" nature inherent in her body has become a challenge and rebellion against feudal "reason", and finally constructed a love song of love that is bizarre and charming, touching and moving.
"Love" is not only the theme of this work, but also vividly reflected in the male protagonist Liu Mengmei.
In the "Playing the Truth", he looked at Du Liniang's portrait, "Play it sooner or later, worship it, call it, praise it", like a drunkard. As soon as the "Meditation Oath" came out, he boldly showed his love to Du Liniang, and swore an oath: "Born in the same room, die in the same cave." If the mouth is not in unison, the life will be extinguished with the incense. ”
After learning the truth that Du Liniang was a ghost, although he was afraid, he was not too afraid, because in his heart, he had long regarded Du Liniang as his wife. In order to save Du Liniang, he was willing to risk the great ming law of "opening the museum to see the corpse, and beheading everyone regardless of the head".
At this time, he has grown from a conceited and amorous student to a fighter who defends ideals and loyal love.
"Peony Pavilion" has a total of 55 plays, and from the 35th "Back to Life", Du Liniang has gone from death to life, and the conversion of life and death has ended. However, the story does not end here, but uses about one-third of the pen and ink to describe the conflict between Liu Mengmei and Du Bao, Du Liniang's father.
In the eyes of many people, the transformation of life and death is the most wonderful part of "Peony Pavilion", such as a comment by the famous dramatist Hong Sheng: "Ken Qi, on the occasion of death and life, wrote in the "Frightening Dream", "Dream Hunting", "Diagnosis", "Photography", "Mourning" five folds, self-birth and death; "Soul Tour", "Ghost", "Ghost", "Joyful Scratching", "Meditation Oath", "Resurrection" Five folds, born from death. ”
So is this last 20 out of the snake? With the emergence of many contemporary adaptations, such as Bai Xianyong's youth version of "Peony Pavilion", although the whole drama was shortened to more than 30, the plot after Du Liniang's rebirth was retained.
This also shows that people are increasingly aware of the significance of the whole book of "Peony Pavilion" and the value of the last part.
In the last part, the conflict between the sons and daughters becomes the main line. Du Bao's image is of a good man and a good official, but political zhongzheng fortitude cannot hide his moral stubbornness.
When Du Liniang and Liu Mengmei did not hesitate to take risks for love and were desperate, Du Bao stubbornly adhered to the dogma of etiquette and arbitrarily obstructed the hero and heroine from falling in love. Even stubborn to the point of distorting human nature, not recognizing wives and daughters.
If Du Liniang and Liu Mengmei are the embodiment of Tang Xianzu's "love", then Du Bao and Chen Zhiliang and others are the defenders of "reason".
Tang Xianzu raises the story to the contradiction between free love and feudal etiquette by fully exposing and amplifying this sharp and fierce rational conflict in the last part.
The more poignant and moving the love between Du Liniang and Liu Mengmei is, the more it shows the immorality and inhumanity of the dogma of etiquette, and the more it can reflect Tang Xianzu's deep praise and call for the most affectionate nature in the world.
"But let the acacia be negative, the peony pavilion on the three life road", the repeated chants in the "Peony Pavilion" is the love of this world.
Many years later, in Cao Xueqin's "Dream of the Red Chamber", when Dai Yu walked to Lixiangyuan, she overheard the girls practicing the "Peony Pavilion" drama text, and when she heard the sentence "Then you are like a beautiful flower, like a flow of water, it is a question of idle searching, in the boudoir self-pity", I did not feel my heart shaking. After thinking about the taste of it again, I felt heartache and tears in my eyes.
Dai Yu and Bao Yu, Du Li Niang and Liu Mengmei, they were originally ordinary idiots, obsessed with love, and to the extreme, they were the most affectionate.
In 1550 AD, when Tang Xianzu was born, it coincided with the peak of kunqu's prosperity. A "Peony Pavilion", inheriting the West Chamber and the Dream of the Red Chamber, constructs an oriental dream that has lasted for four hundred years.
Kunqu opera is the music of Chinese. Depicting gold paper fans, water sleeves dancing, the depths of the gallery, beautiful people singing and dancing, gentle and long water mill tones slowly immersed into people's hearts, a long sigh -
Like a beautiful flower, like a flow of water!
bibliography
Shen Yinuo. On the idea of "love" in "Peony Pavilion"
XIE Yongjun. The passionate thought of "Peony Pavilion" and the emotional education of women in the Ming and Qing dynasties
The pictures in this article are from the Internet, and the copyright belongs to the original author