Not only did I read the phrase "My Fair Lady, A Gentleman is Good" in class, but I also saw the lonely spring scenery in the deep courtyard, so I dreamed that the scholar named Liu was having fun. It turned out to be a dream of spring, and it is not clear where the scholar came from and where to go. As the saying goes, "I don't know what's going on." Du Liniang, on the other hand, prefers to look for dreams, but when he can't find them, he is unhappy, which is the so-called "past lives". From here on, in Du Liniang's mind, the distance between reality and dreams has actually begun to blur. As for the photos of leaving the soul, picking up the paintings and returning to life are full of dreamy colors. Modern psychology believes that dreams are the expression of the repressed subconscious in people's hearts. In dreams, people can transcend the boundaries of real life, thus satisfying instinctive desires. "The love in the dream, why is it not true?" However, Du Liniang can only complete his love in a dream. The so-called "the living can die and the dead can live" is a phenomenon that can only be found in dreams. Chun Xiang, Shi, Guo Tuo and Liu Mengmei are just fictional characters, and they are the embodiment of spring scenery, Taihu Stone, gardener and plum tree. However, when the story of Peony Pavilion happened, it became a mystery, together with Liu Mengmei's "What is evening? "Life is like a lifetime, and death is like a lifetime. Life and death are just a dream of Conan and Handan. "The Peony Pavilion is not necessarily a big dream, and the" dream "in it is not only a dream in a dream, but also the core of the dream. "Xu Zhuoyun's explanation in a preface to How the Big Dream Woke Up is very incisive.
A careful review of Tang Xianzu's inscription will reveal some more interesting questions. First, what is the "skeleton theory". According to the context, the "Skeleton Theory" should refer to "the person who got married on the recommendation of the person who was sleeping next to him, and kept it secret by hanging the crown". Compared with "love in dreams", they are naturally secular and materialistic. However, this substance is not the key. The key is to hinder the purity of "true feelings". The realization of "feeling to" must first eliminate this external form, and its highest representative is "life and death"-life and death are both a form and a boundary, and the boundary is the basis of "reason". The center of true feelings is "transformation"-"the living can die and the dead can live". Things can be people and people can also be things. The highest state of love is "forgetting me". You can't forget your identity, status, property and differences, so you can't have true feelings. It seems profound to attribute the thought of Peony Pavilion to anti-feudalism, but there is a huge loophole, that is, "What can we do after anti-feudalism?" Love in reality will always face all kinds of problems, and the rapid development after feudal ethics will be hindered. These obstacles are "boundaries" and are "not free" for individuals. The "great love" in The Peony Pavilion is more fundamental than feudal ethics, and it is shown in the play by the difference between life and death.
However, the skeleton theory is by no means perfect. Because, in fact, the feelings of abandoning boundaries do not exist. Love is born from boundaries, from the differences and echoes between things and me. Spring scenery, scholar (its symbolic value) and "my fair lady, a gentleman is good" are all the same. An absolute love even makes the object empty (the love in Du Liniang's dream). Without (concrete) objects, "love" becomes "lust". On the other hand, the pursuit of true feelings must also be consolidated by material means (Du Liniang's resurrection and marriage procedure). This has led to a very embarrassing situation. From the freedom of people and ghosts to the laws that people must abide by in reality, the change is sudden and uncoordinated. Therefore, Mr. Ruoshi will have a deep sigh-"things in the world are beyond the reach of the world", and he is troubled by this contradiction. "Things in the world are just like this, but people's feelings may be more than that ... there is no reason, but will there really be feelings?" Tang Xianzu is essentially opposed to rationality, because rationality is the realistic boundary that hinders "true feelings". However, is there really anything in fantasy that can be called "true feelings"? This is a problem.
Tang Xianzu said: "Why is the love in the dream not true?" How confident are you? Since reason cannot explain people's feelings, what can dreams do? Literature is the same, is it a way out or an escape? The love in the dream is not necessarily true. On the other hand, the love in the world is not necessarily just a dream. "Dream" is the theme of Tang Xianzu's creation and the source of his confusion. It is no accident that Four Dreams in Linchuan wrote the dreamland of life. Moreover, Conan Dream and Handan Dream were written in 1600 and 160 1 year respectively, which was later than The Story of the Purple Hairpin and Peony Pavilion, which is also a development of Tang Xianzu's thought. The story of The Purple Hairpin is not only based on the biography of Huo Xiaoyu, a character in tang legends, but also has a different ending from the original-the appearance of the yellow shirt is a key. However, the yellow shirt is still an unsung hero, or is it the author's intention? Or Huo Xiaoyu's dream girl?
"Where there is truth, there is truth." However, in this way, The Peony Pavilion is just a dream butterfly, but life and dreams have lost a real weight and a little illusion. Dreams are real, so dreams are illusory. Dreams are not necessarily false, and they will never be more real ... only many lovers shed a few tears.