This sentence comes from Chen's Big Fist Coffin. "The Big Coffin" was originally a play about Zhuangzi's wife trial, which was about doubt and betrayal in love. But here, I want to say is a kind of persistence. Life can die, and death can never give up. A little red sand mark on the apex of your heart still exists after wiping it.
Zhuangzi's philosophy of death obviously has a high level, but it also goes far beyond the norm. Because of this, most people can't explain the story of Zhuangzi's wife's death, so Feng Menglong forged this fake story to round the plot. Relevant historical data prove that Zhuang had been transformed into Zhuang Zhou's trial wife by novelists and Buddhists at the latest in the late Ming Dynasty. (The 19 th century Buddhist scrolls collected by Shanghai Library show that the story of butterfly dream has been transformed into the story of Zhuang Zhou's wife trial in the late Ming Dynasty. )
This is of course a waste of sages and a spoof on Zhuangzi. This story of testing his wife by suspended animation is a typical male unilateralism, which requires women to be loyal to their wives, but it is very interesting to conservative men. Modern Peking Opera The Big Coffin was adapted and put on the screen, which was called Zhuangzi's Wife Trial, and it was the earliest Hong Kong film. See the legends of "Zhuangzi Hugh Drum Becomes a Avenue" and "Butterfly Dream", the second volume of "Shi Jing Tong Yan" and the twentieth episode of "Wonders of Ancient and Modern Times". There are generally pornographic, horrible, vulgar and ugly performances. Han Opera, Gui Opera and Pingju all have this repertoire, Sichuan Opera has Nanhuatang, xiang opera Opera, Yi Opera, Hui Opera and Qin Opera all have butterfly dreams, and Hebei Bangzi also has the tomb of Zhuangzi.
In addition, different types of operas have this kind of drama. For example, Taiwanese opera in Taiwan Province province.