Meaning: Love arises slowly and unconsciously, and then becomes deeper and deeper.
From: The inscription of "The Peony Pavilion" by Tang Xianzu [Ming Dynasty].
Original sentence: Love doesn’t know where it starts, but it goes deeper and deeper. The living can die, and the dead can live. Those who are alive but cannot die, and those who die but cannot be resurrected are not the result of love.
Interpretation: Her love was aroused unconsciously and became deeper and deeper. She could die for her love when she was alive, and live for her love when she died. Living without wanting to die for love, and living without being able to come back to life cannot be considered the extreme of love.
Extended information:
Creative background
Tang Xianzu had a bright mind and outstanding talents since he was a child. However, due to bad luck and offending the powerful, he failed the imperial examination four times. This made Tang Xianzu have a clear and profound understanding of the shortcomings of the imperial examination system and the ugly face of powerful people using power to suppress others and malicious revenge. The hardships on the road of life failed to change Tang Xianzu's life principles of insisting on himself and attaching importance to morality, but instead created his firm will. , pay attention to the style of conduct and conduct.
Soon, Tang Xianzu, who was in a dangerous position in the officialdom, gradually reduced his ambition to serve the world. After the Shangshu demotion incident, Tang Xianzu made up his mind to bid farewell to officialdom and devoted his passion to serve the country to the creation of operas. middle. Tang Xianzu, who valued love and righteousness, always closely linked "emotion" and "ambition" and pointed out that "the emotions of all things have their own ambitions." He began to try to create operas with romance themes as the core very early on.
The friendship interaction between Tang Xianzu and his friends that "dreams are born from love" and "love is born from fitness" brought him a special emotional experience, which ultimately prompted Tang Xianzu to embark on the journey of "dreams are born of love, dreams are born of love". The creative path of "Dreams Turn into Plays".
In the twenty-eighth year of Wanli (1598), Tang Xianzu resigned from office and returned to his hometown of Linchuan County, Jiangxi Province to live leisurely. He is 49 years old this year. He heard and witnessed the love encounters of some young men and women in his life, and these experiences aroused his creative feelings. Soon after returning to his hometown, he began writing "Resurrection of the Peony Pavilion". "The Return of the Peony Pavilion" is adapted from the Ming Dynasty novel "The Return of Du Liniang".
In the early Ming Dynasty, due to the differences in local languages, customs and traditional music, legendary dramas can be said to be a competition of various tunes, including a large number of local tunes with different styles. By the mid-Ming Dynasty, the four most popular tunes in Nanqu were: "Haiyan tune", "Yuyao tune", "Yiyang tune" and "Kunshan tune".
During the Jiajing and Longqing years, a group of opera musicians represented by Wei Liangfu made comprehensive improvements to Kunshan tune. In terms of singing banyan, palace tune, accompaniment, and the use of Qiyun and flat tunes, Kunshan tune was reorganized and created a fresh and elegant vocal style, which was sometimes called "Shuimo tune" and "Lengban tune". song". ?
"Resurrection of the Peony Pavilion" is based on Yihuang tune, which is derived from Haiyan tune.