Title poem
Poetry is based on emotion, and sex is emotional.
Love has poetry, and poetry enters the drama.
Poetry script, plot contains poetry,
Love nature, natural sculpture,
Poetry and drama are implicit and concise,
Dull and angry, but it feels true,
Express your feelings, express your feelings, euphemistically and elegantly,
The west lake is better than the west lake, and the shade is always suitable.
Poetry is dramatic, and drama conveys poetry.
Love all over the world, poetry and drama contain true feelings.
As a poetic drama, The Peony Pavilion has the same status as The West Chamber in the history of China's classical drama. Its poetic drama is characterized by the unity of poetry and plot, image and image, poetic language and dramatic language, which makes the theme of Peony Pavilion vividly presented, highlights the personality of the characters and depicts the image of Du Liniang, the most affectionate person in the history of drama.
Keywords: Peony Pavilion? Poetic drama? trait
? During the Yuan and Ming Dynasties, drama writers emerged one after another, and the Peony Pavilion by Tang Xianzu, a great composer in Ming Dynasty, was a masterpiece of peerless generation. Shen Defu, a drama critic, once commented: "When The Peony Pavilion came out, it was passed down to the next generation, and The Story of the West Chamber was reduced in price several times ... This is self-sufficient and immortal." In the history of China's ancient drama, The Peony Pavilion can be said to be a classical poetic drama no less than The West Chamber.
Poetic drama is a form of poetic drama, which is between poetry and drama. It not only has the appearance of drama, that is, the role, dialogue and concrete structure of drama, but also has the connotation of poetry. Poetic drama is different from ordinary drama, which is the fusion and unity of poetry and drama, thus forming unique aesthetic characteristics.
First, the unity of poetry and plot.
? "Poetry is based on emotion" is a literary tradition of poetry since ancient times. For example, Yang Weizhen in the late Yuan Dynasty and early Ming Dynasty said, "Poetry is based on emotion, there is emotion here, and there is emotion and poetry here." However, music theorists in the Ming and Qing Dynasties believe that "emotion" is the only source and essence of drama. Poetic drama, as a kind of poetic drama, has the lyrical characteristics of "poetry expressing ambition" and the conflict between plot and clue.
? Tang Xianzu claimed that "The Peony Pavilion" was "a dream because of feelings, and a play because of dreams". As a large-scale poetic drama, The Peony Pavilion is really like an implicit lyric poem in writing, which embodies a strong emotion. Its lyrical features are mainly manifested in the whole process from the germination of Du Liniang to the pursuit of love. As an aristocratic family in feudal family, Du Liniang was influenced by feudal orthodoxy in her boudoir. It was not until he read the Book of Songs in the boudoir that he began to pursue love, feeling that "closed pigeons are still thriving, and people are not as good as birds". At first, Du Liniang didn't know his youth and beauty. Du Liniang first set foot in the back garden in a compromise in The Dream of a Giant. When he first saw the colorful flowers in full bloom, he really realized that he was in the spring of life. Unfortunately, this beautiful moment was given to the ruins. It is here that Peony Pavilion expresses the spring scenery of the back garden to Du Liniang? "Born in a bureaucratic family, grew up in a noble family. A few years have passed, so I can't match it well earlier. It's really a waste of youth, and time is like a gap.
? In The Peony Pavilion, "love" exists as a strong perceptual experience. Before Du Liniang died of love, his emotional object had the illusion of a dream, and the pursuit of love in reality could not be expressed through external practical actions. Therefore, when describing Du Liniang's attachment to love, Tang Xianzu paid more attention to the expression of Du Liniang's inner feelings. Dreams became the carrier of Du Liniang's inner feelings. From the whole process of visiting the park, dreaming, and seeking dreams, Du Liniang's feelings and worries are vividly displayed. Du Liniang's "most affectionate" nature is revealed in the plot that is also true and illusory.
? Poetic drama is the unity of poetry and plot, which is the inevitable requirement of poetic drama, and poetry is the inner life of poetic drama. The poetry of Peony Pavilion can only be expressed by plot. In the plot, 55% of The Peony Pavilion focuses on Du Liniang's "emotion" and revolves around Du Liniang's dream because of emotion, death because of dream and resurrection from the dead. Through the conflict in the play, that is, the contradiction between Du Liniang's rebellious spirit of pursuing human feelings and feudal ethics, Du Liniang's inner poetry is expressed. Du Liniang tried to pursue love in feudal ethics. On the one hand, it is the patriarchy represented by Du Bao, and on the other hand, it is the feudal traditional thought of "women's virtue" represented by Chen Liangliang. In the struggle against the two, Du Liniang's emotional expression unified plot and poetry, which gave Du Liniang a profound exploration and a true copy of the soul, and made Du Liniang's personality as a "lover" manifest.
Second, the unity of image and imagery.
? Poetic drama, as the unity of poetry and drama, is often set off by the specific language feature of poetry besides the characters in general drama. Image is an objective object with subjective feelings, which is expressed by means of objects. In The Peony Pavilion, Tang Xianzu tried his best to infiltrate the objective image of "Mei" into the plot and became a symbol.
? Mei's character has two tendencies since ancient times. One is to regard Mei as a representative who is not afraid of power and detached from things, and the other is to give Mei noble and refined qualities. In The Peony Pavilion, Du Liniang advocates nature, but in The Dream of Scared Dreams, Du Liniang admits that his "lifelong hobby is nature", his personality is as simple as plum blossom, and he pursues the beauty of "natural carving". But Du Liniang is not only as beautiful as plum blossom, but also includes almost all the qualities of plum blossom. For example, in Wen Tianxiang's Nan 'an Army, "Plum Blossom Road is north and south, and the clothes are wet with rain." Plum Blossom, as an image of relegated culture, has a bleak color of being replaced. In The Peony Pavilion, Du Liniang was infatuated with lust, died in a dream and turned into a fragrant soul. Tang Xianzu endowed Du Liniang with the sadness of plum blossom relegation, and thought that his injury was like the residual plum blossom on the grave, half-open, sad and gentle. At the same time, Du Liniang's fate was ups and downs. He died in a dream and was born in death. It also corresponds to the life course of plum blossom from winter to spring, from dead branches to first flowers. In nature, Du Liniang's will is firm, and he does not yield to authority, which is similar to the plum blossom's nature of not being afraid of the cold. In the pursuit of love, she advocates spontaneity of love, freedom of mate selection and autonomy of marriage. In the play, Du Bao reprimanded her and said, "Ghosts are evil. I'm afraid no one is suitable. What do you want from Liu Mengmei? " She retorted, "People have a high profile in broad daylight, and they can't get an official. In your daughter's sleep, in the ghost cave, she chose a champion lang and said that the door is right! " When Du Bao asked to "divorce Liu Mengmei" before recognizing her, she was firm and full of resentment: "Tell me to go back to Du's house and marry Liu Ya. Even your azaleas are not red tears. " This tenacious struggle against feudal ethics embodies Du Liniang's lofty and detached personality charm.
? In the play, the plum blossom in Tang Xianzu's works is not limited to plum blossom, but also takes plum blossom as an image to highlight Du Liniang's inner hope for love. Starting from the Book of Songs, "Calling South with Mei": "Mei is actually seven. Please me, scholar, please be lucky! Plums fell to the ground with only three branches. I have a heart to ask my young man not to wait any longer today. Plums fall to the ground, dustpan will dustpan. Please call me a scholar. " Zhongmeizi is endowed with the symbolic meaning that women want to marry. Plum trees blossom and bear fruit, and the lovely plums in Lei Lei are the precipitation of plum trees' youth. Du Liniang also hopes that he can find a good husband and let his beautiful love blossom and bear fruit like a plum tree. In fact, Du Liniang's hand-twisting childhood sweetheart in the photo also implies his own marriage wish. The childhood image in the play incorporates Du Liniang's longing and persistent pursuit of love.
? The use of images in poetry and drama makes the objective natural images and the subjective feelings of the characters unified, and the image characteristics of the characters are more prominent. At the same time, the use of images also makes the language of poetic drama imperceptible. The simple image of "Mei" in The Peony Pavilion shows the beautiful, persistent and detached rebellious spirit of this boudoir woman in a witty and comprehensive way, bringing the image to life.
Thirdly, poetic language and dramatic language.
? Poetic drama is not only a poetic drama form, but also its language should have its own characteristics, that is, besides the lyricism and implicit and simple aesthetic feeling of poetry, it should also reflect the personality of the characters' language in drama. The poetic and dramatic language of Peony Pavilion embodies the unity of poetic and dramatic language well.
? The poetic language of The Peony Pavilion is firstly reflected in the fact that the dialogues of the characters in the play often express their feelings with the help of images or allusions, so that the language can achieve the effect of implicit and concise. For example, in the compromise in "The Trial of Ghosts", Judge Hu borrowed 38 kinds of spring flowers from a short song when enumerating the charges that the flower god misunderstood human women, which euphemistically summarized the whole process of women from love, employment, marriage, childbirth to old age. The flower god argued that all kinds of patterns are determined by the weather, and Judge Hu borrowed a sentence: "You can't hold the fairy belt overnight; A shredded begonia keeps getting weird; The three allusions of "a Daphne can't catch up with cigarettes" come from an example of a woman who died playing with flowers, which makes the flower god irrefutable. The use of these images and allusions makes the poetic drama flow euphemistic, elegant and concise, without the suspicion of foul language.
? Secondly, the poetic language in Peony Pavilion is also strongly lyrical. Tang Xianzu used a lot of poetic poems in the Tang and Song Dynasties, such as the lyrics of A Portrait of a Spring and Du Liniang's lyrics of "Spring is heartbroken in the brow" and "The moon in the brow is higher than the West Lake", respectively using Zhou Bangyan's "Complaint". This combination of poetry and scenery shows the profound connotation of Tang Xianzu's poetry, and at the same time fits the feelings and environment of the characters in the play, adding literary grace to the dramatic increase of poetry.
? The characteristics of drama language are mainly manifested in the colloquialism and personalization of the characters' language in the drama. The language of different roles corresponds to their own identities and personalities, and it is the personalization of this dramatic language that makes each role vivid. In the corner of the boudoir, the dialogue between Chen Liangliang, Du Liniang and Chunxiang is simple and popular, but it fully embodies the pedantry of the feudal literati in Chen Liangliang, the playful liveliness of Chunxiang and the gentleness of Du Liniang. This kind of language conflict not only makes the scene of "Spring fragrance disturbing the school" full of comedy effect, but also highlights everyone's personality characteristics. In addition, the vulgarity of stone language and Du Bao's righteous words all reflect the independence of the characters.
? The unity of poetic language and dramatic language in Peony Pavilion not only makes the poetic drama full of linguistic beauty, but also the personalized language features better depict the ideological content of the characters.
The Peony Pavilion is not only the dramatization of poetry, but also the poeticization of drama. The integration of poetry and drama creates a poetic and picturesque drama environment, which makes the "love" in Peony Pavilion shine brilliantly in the drama and greatly increases the dramatic charm of Peony Pavilion. This unique poetic and dramatic nature makes The Peony Pavilion a wonderful flower in the history of drama art and shines brilliantly in China's classical dramas.