On the heroine Du Liniang;
The theme of "The Peony Pavilion" is mainly expressed and embodied by shaping the image of Du Liniang. Tang Xianzu said in the inscription of The Peony Pavilion: "All women in the world are affectionate and wish to be like the daughter of Du Liniang! ..... Like Li Niang, it is the lover's ear. I don't know what happened, but it was deep. The living can die and the dead can live. Those who are born without the dead and die without resurrection are not affectionate. " Obviously, Tang Xianzu regarded Du Liniang as a lover and shaped him into a lover who reached the highest level of affection. This is a very clear opposition to the exclusion and denial of affection by ethics and Neo-Confucianism, which is called "no interest". It has successfully shaped the image of Du Liniang, a glorious anti-feudal campaign, and is an outstanding achievement of The Peony Pavilion.
Du Liniang's anti-feudal rebellious character has a growing process with certain complexity. On the one hand, Tang Xianzu provided Du Liniang's living environment through the relationship between characters, on the other hand, he revealed Du Liniang's inner activities through the development of the plot, thus showing the growing process and complexity of Du Liniang's rebellious character.
Du Liniang was the daughter of a feudal bureaucrat. Her father, Du Bao, served as the prefect of Nan 'an, calling himself "a famous Confucian in Western Shu", and he was handed down from Confucianism. Feudal society pays attention to the family voice, respects ancestors and requires sons to be filial, and the greatest filial piety is to "make a name for themselves and show their parents" after the apprentice. Du Bao attaches great importance to Du Liniang because she has no children, and tries her best to cultivate her into a standard "lady". At home, she is a filial daughter, and after marriage, she is a good wife and mother. Du Bao wholeheartedly hopes that Du Liniang will "come one day, be knowledgeable and be proud of his parents". Therefore, Du Liniang received a strict feudal education since childhood, and both men and women could recite four books. She can't move freely, she can't think freely, and she is never allowed to have personal will and feelings. She was tightly shut in the family and completely cut off from the outside world; At the same time, she was tightly locked in the boudoir, naturally completely isolated from the outside world. According to the requirements of feudal times for women, she can only be a walking corpse. In fact, Du Bao's home is full of rotten and moldy smells. Under the rule of Neo-Confucianism, everything lost its freedom, vitality and life. Du Liniang, who grew up in such a family, was tightly bound to her like a heavy yoke, such as etiquette, family rules, female precepts and women's morality. Because of fatigue, she took a nap during the day, which was considered as indulgence and indiscretion. Even if she embroidered pairs of flowers and birds on her skirt, it would cause a fuss among feudal parents and be regarded as a great evil thought. In this way, Du Liniang is really as meek as a lamb. Chunxiang, her maid, said to her, "It's called national color, and it's really a family sound. The tender face is shy and the old age is respectful. " However, Du Bao is still not satisfied. After consulting with Du Liniang's mother, he decided to invite a teacher named Chen Liangliang to teach Du Liniang. Its purpose is not to care about learning culture and knowledge in Du Liniang, but to make Du Liniang "physically and mentally restrained" with Confucian holy books. "Physical and mental bondage" means that you are not allowed to move freely, you are not allowed to think freely, and everything is subject to "rationality".
In The Peony Pavilion, Tang Xianzu showed readers and audiences the realistic environment faced by Du Liniang by depicting Du Bao, Du Mu and Chen Zui Liang. Du Bao, these people represent feudal forces, ethical concepts and the rule of Neo-Confucianism. Du Bao gives the impression that he is a decent bureaucrat. He is loyal to the monarch, patriotic and concerned about people's livelihood. But in fact, he has no talent and is extremely mediocre except for putting on a sanctimonious old-fashioned face. He was ordered to guard against the enemy, but he was helpless when he got cold feet, so he had to use bribery and deception to lift the siege. But he is so harsh and cruel to his own daughter who is seriously ill and dying. He didn't take it to heart at all, thinking it was just a cold and didn't even invite a doctor. He only hopes that his daughter will add luster to his "famous Confucianism" in the future. For his wife, he is also condescending, bossing around and urging her to strictly discipline her daughter. Although Du Mu knows how to love her daughter better than Du Bao and says "always follow the children and try to be an old lady", she still flaunts that her family is "virtuous in the world" and wants to be a model of "virtuous" for her daughter. Du Bao is in charge of everything, saying "but respect" and doing everything according to your opinion. She wants to keep Du Liniang in the boudoir, thinking that "all young women are the most unsuitable for colorful makeup games". She was poisoned by feudal ethics, and she poisoned her daughter with feudal ethics. As a "corrupt Confucian", Chen Zui Liang was also deeply poisoned by feudal ethics. Tang Xianzu criticized and sympathized with him. He studied Confucian classics since he was a child, but he took 15 rural examinations. After 45 years, he still failed to achieve fame. In the end, he even canceled the meal, and his teaching life was unreliable. He is called "Chen Jueliang". His life has no landing, pedantic to the point of ignorance, and he has fallen into a situation where he can't extricate himself. When he taught Du Liniang to study, he only knew that "Confucius speaks well, and saints have a thousand words, so people should rest assured". This is the same as Du Bao's "physical and mental restraint". Tang Xianzu wrote the objective situation of Du Liniang through Du Bao, Du Mu and Chen Liangliang, which was breathtaking. In such a living environment, Du Liniang is obedient to his parents. During the Spring Festival, she knelt down to celebrate her parents' birthday to show filial piety. Du Bao asked her to "know the book and know the ceremony" outside the embroidery work. She said, "From now on, after dinner, I will write a book in front of the jade mirror." She put the book on the dresser, and she wanted to read the classics of ancient sages carefully. Before meeting her teacher Chen Liangliang, she boasted that "Confucianism is an old mentor" and "Women are gentlemen and Confucianism". She even asked the maid Chunxiang to follow her example and learn from the wise women of ancient times. She said to Chunxiang, "You just know some books and be a good slave." It means that Chunxiang, as long as she reads a little, will understand the relationship between generations, serve her master well and be a loyal slave. All these show that Du Liniang, who can recite the Four Books for Men and Women, is really "mature and respectful" as Chunxiang said.
However, under the appearance of "age and respect", Du Liniang has a long-term depression in his heart. As a young lady of a feudal bureaucratic family, she is pampered and pampered, without the burden and pain of life, and there is no threat of hunger and cold. What she felt most prominently was her dissatisfaction with the physical and mental freedom within the feudal class, her worry about her youth and beauty, and her serious worry about her future marriage. This is the other side of Du Liniang's personality, stable, quiet, gentle and obedient. On the surface, Du Liniang is "mature and respectful", but in fact, he is disgusted with his situation and deeply worried about his future. But this side of Du Liniang is restrained, and it is deeply hidden in her heart. She is not indifferent to spring. When she was ready to play in the garden, Chunxiang once said, "Love this spring is like last year." The playwright expressed his feelings through the mouth of Chunxiang. However, she did this for her parents' birthday because of the beauty of spring, but she simply said two words, "Jiao Ying wants to talk and see spring like this", without showing any feelings of joy and sadness for spring. In the play "Noisy School", the naughty Chunxiang was not satisfied with reading those boring Confucian classics, and deliberately picked on Chen Liangliang. Du Liniang and Chunxiang feel the same way, but she still pretends to be serious and wants to punish Chunxiang. Du Liniang's seriousness and reserve reflect her inner contradictions. The Peony Pavilion shows the conflict between emotion and reason, which is quite concrete and vivid in this play. At the same time, in the conflict between "emotion" and "reason", Chunxiang's "noisy learning" reveals Du Liniang's inner contradiction and personality development.
The play is divided into two parts: "going to the garden" and "dreaming". The play shows that Du Liniang's pent-up depression and sadness are aroused after reading the poem Guan Ju. But Du Liniang was locked in the boudoir and had no choice but to be more distressed and sad. At Chunxiang's suggestion, she went to the garden behind the mansion for recreation. Playing in the garden is nothing, but for Du Liniang, it is a bold act, which gradually turns her long-suppressed depression into a factor of resistance. When she moved out of the boudoir, she began to transcend the boundaries of ethics; When she stepped into the garden, she began to rebel. Before the "Garden Visit", Du Liniang dressed up for the garden visit. In the process of "visiting the park", I was first attracted by a gorgeous scenery, but when I looked up, the buildings in the park were in ruins, which can be described as "broken wells and broken walls". Nobody cooks at all, and nobody comes here. Did you live up to the brilliant spring? Du Liniang compared herself to a peony that doesn't open in spring, and she was very sad. He was no longer interested in going to the garden, so he returned to the boudoir in frustration. The following is the part of "dream". Du Liniang dreamed that he met a young scholar in the garden and they fell in love. Du Liniang's sadness in "Going to the Garden" is not in harmony with flowers and birds in spring, but it is in line with her situation. From the beginning of "this young and cheap life that Jinping people especially saw", she was associated with her youth and beauty, facing a bleak future and ending in a tragic fate. In real life, she has no way out. She can't enjoy Cui Yingying's freedom to go to the West Chamber Buddhist Temple, and she can't meet Zhang Sheng in Cui Yingying. She didn't have the courage and possibility to break free from the fetters of feudal families, but refused to give up her yearning and pursuit of love and happiness. As a result, what she hoped appeared in an illusory dream.
Du Liniang seems to be free in his dream, but after waking up, he is still surrounded by the cold reality of strict ethics. However, after reading the poem Guan Ju and visiting the back garden, Du Liniang's personality changed. After waking up, she went to the garden to dream. If the "dreaming" in The Garden is inspired by objective spring scenery, then it is Du Liniang who "dreams" on his own initiative after waking up. She said: "This kind of flowers and plants is loved by everyone, and life and death follow people's wishes. It is sour and clear, and no one complains." Du Liniang's character has really changed. Of course, "dreaming" did not "discover" any results. In this way, Du Liniang fell ill with emotion and died of illness. Du Liniang's death is the spiritual destruction of feudal ethics. However, for Du Liniang, death is not the end of her love pursuit, but the beginning of her love pursuit. Tang Xianzu asked the ghost of Du Liniang to continue fighting for his future. In the nether world, Du Liniang finally found the lover he met in his dream, that is, Liu Mengmei; Also because of Liu Mengmei, she actually came back from the dead. Liu Mengmei's image is not as vivid as Zhang Sheng in The West Chamber, nor as important as Du Liniang's, but it plays an indispensable role in the development of Du Liniang's character, showing Du Liniang's persistence and persistent attitude.
Gone with the Wind is my favorite novel, an absolute world classic.
After reading it, my feelings about the heroine Scarlett;
Scarlett is a woman like a cat. With cat-like eyes, cat-like smile, cat-like pace and cat-like agility. Then, what kind of attitude and experience does this cat-like woman provide us to treat life, love, difficulties and setbacks?
First of all, she dares to take responsibility when she meets difficulties. Although she wavered, she finally took responsibility. For example, she saved Melanie, revived Tara, and later helped the Ashley family for a long time.
Secondly, she dares to love and has no regrets. She loved Ashley all her youth, but she didn't give up her efforts until she reached the limit of her ability.
Also, when she finally realized that what she had done before was wrong, she immediately apologized to Rhett, asked for forgiveness and tried her best to protect their love.
Generally speaking, Scarlett is a strange girl, a woman without a man. No wonder Rhett, such a great man, fell at her feet. Scarlett is a weak woman, willful and young. Her first marriage was an impulsive revenge. She married a boy she didn't love and made herself a young widow. The second marriage was for the survival of the family and took away my sister's sweetheart Kennedy. Although Kennedy is already an old man and a half, he is no match for Scarlett. He was helpless in the face of her ruthlessness. In the end, he was shot to get back at the poor white man because Scarlett was almost insulted. Unfortunately, he died in vain, but he never enjoyed Scarlett's love. So Scarlett became a widow again, and she was a rich widow. In that war-torn era, in order to make a promise to Ashley to take care of Melanie, when the northern army was about to capture Atlanta, Scarlett decisively delivered Melanie and found Rhett to break through many obstacles and checkpoints and return to Tara, his hometown in the country. When she was hungry and cold, she suffered multiple blows from her mother's death, her father's dementia, her home being robbed and poverty. She persevered, took the lead in farming, ordered her sister to get up to pick cotton, took care of Melanie and Xiaobo, and supported the family's livelihood. At that time, she was only a little girl in her twenties at most, and she should be a spoiled little girl in her mother's arms. However, in the face of such great difficulties, she did not choose to escape, but bravely shouldered the burden of her family and fought against her fate with perseverance that ordinary people could not match. Whenever I see Scarlett holding a radish and swearing to heaven that she will never let her family suffer and starve again, I always feel that the director's use of light and background is so ingenious and artistic, vividly depicting Scarlett's strong and true inner feelings of longing for stability, survival and prosperity. I think at that time, she had completed the most difficult evolution, from an ugly caterpillar to a beautiful butterfly, free and noble. Scarlett at that time was like a goddess-a woman who longed for wealth and was willing to do anything for it.
No matter in the face of the ruins and smoke of war, the death of mother and father, the poverty and hardship of life or the death of her daughter, she is the strongest and most tenacious, and she is the first to get out of pain and hardship. When Scarlett faced the scarred Taylor Manor, her tenacity and strength made the eldest daughter of this family shoulder the burden of parents. At the end of the film, she firmly told us that tomorrow is another day.
Vanity should be a derogatory term, but Scarlett's vanity seems particularly lovely, and vanity seems to be a commendatory term for her. A famous model once said, "Girls always have a little vanity, no matter what vanity is." When Scarlett tore off her mother's only relic, the curtain, she would make a beautiful dress with it anyway, and put it on her body to look forward to new clothes. Her vanity made her a seemingly unfilial daughter, but her practice (that is, her vanity) was the only way to save the whole family at that time. Vanity gives the whole family hope of survival, and such vanity should not be considered worth abandoning.
Greed should always be a derogatory term. However, Scarlett's greed is not only understandable, but also commendable to some extent. After the war, Taylor Manor was controlled by the Union Army. The death of her mother and the collapse of her father made Scarlett, the eldest daughter of the family, shoulder the burden of "parents". The scarlett family lead a hard life. The war made her poor, and poverty was followed by hunger. However, the most terrible thing is the land that has no money to pay taxes and almost lost its source of livelihood. In order to borrow money to pay taxes, Scarlett seduced her sister's lover and became the proprietress of a small shop. After all this, she understood what kind of society she lived in and the importance of money in this society. Therefore, when she has the money she needs now, she will naturally want to have more money. In the pursuit of "more money", she showed an excellent quality that an early capitalist must have-greed.
The two words, cruelty and selfishness, seem to be derogatory terms for anyone, especially for women who are gentle and kind. However, Scarlett's cruelty and selfishness are commendable to some extent. First of all, in the period of social transformation, people's ideas need to change from traditional ideas to new ones that adapt to social development. Those who can't change their ideas at the first time will lose the initiative to lead the times. Scarlett is a woman who changed her mind at the first time, accepted the new society and social system, new values and new way of life, and became a small capitalist. At this point, she is very remarkable. Moreover, when the capitalist system was just established, selfishness and cruelty were the key to the survival and development of a capitalist. In capitalist society, love for the world has always been a factor that hinders the survival and development of capital itself. At this time, selfishness and cruelty have become the advantages of the strong.
The beautiful Scarlett provides us with an attitude towards love. She is beautiful, but she just uses her beauty properly to get what she likes, and never uses her beauty to play with love, whether it is her own or someone else's love. Scarlett is beautiful, but beauty is not a necessary condition for having love-you may not be as beautiful as Scarlett, but you also have the right to pursue your own love.
From Scarlett, I can see a model of a woman.