Peach Blossom Fan is a masterpiece of legendary dramas in Ming and Qing Dynasties, and the clever use of its symbolic and narrative structure is one of them. Therefore, this paper starts with the narrative means, structural methods and images of the symbolic narrative structure of the play, and deeply discusses the theme, plot conflict, overall structure and artistic effect produced by the symbolic narrative structure.
Keywords: peach blossom fan; Symbol; Artistic effect; Narrative structure
I. Introduction
Peach Blossom Fan is the representative work of Kong (1648 ~ 17 18), a famous playwright in the Qing Dynasty, and occupies an important position in the legendary historical dramas of the Ming and Qing Dynasties. For a time, "governors recommend gentry and borrow money" and "singing on the stage, there is no empty day" This book marks the new peak of China's drama since Tang Xianzu, so Kong and Hong Sheng, the author of The Palace of Eternal Life, are called "South Kong".
Kong also specially wrote the article "Examination of Peach Blossom Fan" at the beginning of the engraving, listing in detail the literature materials involved in the creation of the play. There are two volumes in the book, with a total of 40 volumes * * * (one volume at the beginning and the end of the upper and lower volumes, and 44 volumes at the end of the actual * * * *). Peach blossom fans run through, giving fans, theme fans, splashing fans, drawing fans, sending fans and splitting fans.
The Peach Blossom Fan is exquisitely arranged in narrative structure, and Liang Qichao once praised it in Conghua: "But the Peach Blossom Fan written by Confucius is the most exquisite in structure, magnificent in literary talent and profound in sustenance!" It can be seen that besides the modification of words and the expression of emotions, the narrative structure of drama is also very important. The narrative structure of drama includes grammatical structure, surface structure and deep structure. From the perspective of narrative structure, this paper discusses the research that can supplement and develop Peach Blossom Fan. This paper mainly discusses the symbolic narrative structure and nested double structure embodied in Peach Blossom Fan. These two points are more outstanding creative features of Peach Blossom Fan than other dramas, and make it a masterpiece of Ming and Qing legends.
Second, the Peach Blossom Fan and its related research
Since I wrote Peach Blossom Fan, Luoyang paper has been expensive for a while. At that time, it was mainly used for circulation and stage performances, and did not involve research. Since the end of 19, the research of peach blossom fan has just started.
2. 1 Study on Peach Blossom Fan
In the early years of the Republic of China, influenced by the spread of western learning to the east, Wang Guowei, Liang Qichao and others accepted western philosophy and aesthetic concepts, and expounded the connotation of Peach Blossom Fan from the perspectives of philosophy, aesthetics, ethical values and social politics to stimulate people's patriotic enthusiasm. From the Revolution of 1911 to 1949, the study of Peach Blossom Fan changed from classical to modern, mainly using history to illustrate national consciousness. However, due to the influence of domestic political situation, it is difficult for academic circles to study Peach Blossom Fan in depth. 1949 after the founding of new China, the research on peach blossom fans entered a new stage and developed rapidly. Since the 20th century, the research perspectives have become more diversified and the fields involved have become wider and wider.
In recent years, the study of Peach Blossom Fan is mainly from the perspective of artistic aesthetics. For example, Mars and Yin Zhipeng (20 1 1) think that Confucius' Peach Blossom Fan is one of the most perfect masterpieces in China's classical operas, and the key point of its aesthetic implication is to combine the feelings of parting and ups and downs and express them skillfully. There are many scholars who study the Peach Blossom Fan from a comparative approach, such as Zhao Qiumian (2004), and a few scholars who analyze the relationship between the Peach Blossom Fan and traditional culture, such as Songhui Zhang (2000) "Talking about Taoism and Taoism".
2. 1 A Narrative Study of Peach Blossom Fan
However, there are only a handful of studies on Peach Blossom Fan from the narrative perspective. For example, 20 14 Zhang Yu analyzed Peach Blossom Fan from the narrative strategy. He believes that Peach Blossom Fan not only inherits the legendary creative tradition, but also has originality. It combines historical truth with legendary elements through various narrative means such as role narrator, multi-voice narration and time distortion, which not only creates historical realism. Researchers only developed the narrative structure of Peach Blossom Fan in 10 years. For example, from the perspective of image structure, Li Duojiao (1998) thinks that Peach Blossom Fan runs through the whole play like a gray line of grass snakes. Peach Blossom Fan is not only a stylistic symbol, a multilateral metaphor, but also the carrier of the important image structure of the whole play, which not only carries a love story of joys and sorrows, but also carries the history of the Southern Dynasties. Sun Minqiang (2006) also analyzed the image structure. He put forward "Peach Blossom Fan" as the central image, which has special artistic effect and structural function, making the artistic structure and image system of the whole work unique, showing distinctive national characteristics, becoming a successful example and the best footnote of the theory of "removing bamboo", with special aesthetic significance and theoretical value. He believes that Confucius has made a creative contribution to China's narrative literature theory. Wu Ruixia (2006) analyzed the plot structure of Peach Blossom Fan according to the theory that Li Yu's drama narrative should be centered on "one person and one thing", and thought that Li's "one person and one thing" was the "main brain" of Peach Blossom Fan. Yuan Yun (20 1 1) thinks that the success of the narrative structure of Peach Blossom Fan has always been appreciated, which is an important aspect of the artistic achievements of the play. The aesthetic features of the narrative art structure of Peach Blossom Fan are mainly reflected in three aspects: the overall beauty of "miscellaneous without intersection", the cautious beauty of "grass snake gray line" and the tortuous beauty of "not strange but strange". Zhang Peng (20 14) thinks that Peach Blossom Fan has multiple narrative structures. First of all, the functional structure of Peach Blossom Fan is a combination of narrative units with generalized paradigm; Secondly, the grammatical structure of Peach Blossom Fan is a compound narrative sequence of multiple narrative clues; Thirdly, there is a deep narrative structure hidden in the text of the play, which is the internal motivation of the text narrative and points out the context and end point of its plot development.
It is relatively new to study drama from the perspective of narrative structure, but the related research in China started late, and the current research is not comprehensive enough, so there are many places worth studying. For example, an in-depth study from the perspective of symbolic narrative structure can further promote the development of dramatic narrative structure. Therefore, this paper decided to explore the value of Peach Blossom Fan from the narrative structure, hoping to make a modest contribution to the study of Peach Blossom Fan and even the whole drama research field.
Thirdly, the symbolic narrative structure of Peach Blossom Fan.
Kirby (1987) wrote in the "symbol" entry of A Concise Dictionary of Modern Thoughts: Image is a concrete description of an experience or an object; If there is a second meaning beyond the specific image, then the image becomes a symbol. The main method of symbol is to abstract concrete people and things into symbols, and then embody philosophy. Narration refers to telling stories. The so-called symbolic narrative is to integrate symbolic techniques into the narrative of the story. In Barthes book S/Z, the text is regarded as a fabric or network woven by symbols. These mixed symbols are divided into five types, among which the symbolic symbol refers to the symbolic function of text symbols in narrative behavior. Therefore, we can use the symbolism of text symbols to analyze the tension of drama. The so-called symbolic narrative structure means that the author constructs an image with specific symbolic significance through special narrative means and structural methods, and promotes and polishes the theme, plot conflict and overall structure of the work. The ingenious combination of narrative structure and symbol and its application in drama works make the surface and deep binary factors of drama play to the extreme and improve its cultural taste.
3. 1 Narrative means of Peach Blossom Fan
As far as narrative means are concerned, the article Peach Blossom Fan sets a central image that runs through the whole play, that is, "Peach Blossom Fan", and unfolds the narrative through skillful symbolic techniques to reveal the theme. The wonder of Peach Blossom Fan is that its symbolic meaning is not fixed, but constantly changes with the constant narration, and it is this change that makes the theme of the play sublimate step by step. Peach Blossom Fan, as a token of love, was originally just a beautiful symbol of love with Li, which only made people full of expectations and blessings for the bright future of a pair of talented people and beautiful women. However, in China's classical literature, peach blossom not only reminds people of the beauty of women and love, but also reminds people of the delicate and charming peach blossom. People can't help but think of poems such as "Where there is a face today, the peach blossoms still smile in the spring breeze", which naturally brings some sadness to readers and makes people feel that things are different, the face is perishable and the love tragedy. Kong Renshang said in "Little Knowledge of Peach Blossom Fan" that "only the blood of beauty, fanning peach blossoms, slurping in my mouth, is vivid in my mind, not surprising, and there is no need to pass it on." Li vowed to defend his ambition to the death. This fan will have a more profound and thought-provoking significance after the poem "Fan Splashing Blood". It can be seen that with the tortuous development of the plot, the symbolic content of Peach Blossom Fan has gradually changed from beautiful to desolate. As a masterpiece of historical legends in Ming and Qing Dynasties, the love between Hou and Li is only superficial, and it is art media. The rise and fall of the Southern Dynasties is the theme and artistic implication. Peach blossoms are thin, and the bottom of the fan falls. This Peach Blossom Fan witnessed the joys and sorrows of love and the rise and fall of the country. Symbol, as an important narrative means of the play, successfully integrates the accumulated meaning of Peach Blossom Fan with the theme melody, giving the play profound historical charm and philosophical significance. Peach Blossom Fan, a wonderful symbol, plays a vital role in the construction of the narrative structure of the whole play.
3.2 Construction method of Peach Blossom Fan
From the perspective of structural methods, Peach Blossom Fan, as the core structural clue of the whole drama, integrates the whole drama and perfectly realizes the narrative of double-line structure. Different from other legends of Ming and Qing Dynasties, Kong Renshang skillfully combined the nested structure with the double-line structure to form a unique nested double-line structure. The clutch of love and the rise and fall of the country are closely linked with this "Peach Blossom Fan". As a clue to the plot development of the Peach Blossom Fan, the gift fan, the theme fan, the splash fan, the painting fan, the mail fan and the split fan are like beads, which are connected in series to form the double-line structure of the whole play smoothly and naturally. In addition to forty articles, the play also specially added a paragraph at the beginning and end of the first and second volumes. The first volume begins with "the first sound" and ends with "gossip". A Lonely Song was added at the beginning of the next book, and Yu Yun was added at the end. Except for gossip, the other three plays were praised by Lao Li. In the first voice, Lao Lizan made his debut as the opening character, clearly indicating that the whole drama was a recent event in the late Ming Dynasty. Borrowing the feeling of clutch, writing the feeling of ups and downs, seeking truth from facts, and being well-founded "; Lao Lizan said in Lonely Song that "it was really a play at that time, and it is just as true today", pointing out the sensational performance effect, practical writing technique and sad writing tone of the play; Lao Li Zan is, to some extent, the embodiment of the author in Yu Yun. Together with Liu and Su, he wrote a poem "Fu of Southern Dynasties" as the end of the whole play. In Eight Diagrams, Zhang Daoshi made his debut and pointed out his identity as a closing figure. As the ending character, he not only connects the characters in the play, but also points out the way out for the protagonist, and plays an important role in the narrative structure of the whole play. Without these four elements, the plot festival is still complete, but the emotional expression is not strong enough, the structural arrangement is not tight enough and not perfect enough. When the author consciously puts on the historical participants and witnesses Lao and Zhang Daoshi's explanations of the plot background and their feelings about the fate of the protagonist, the separation of Hou Li's love and the helplessness and sadness of the rise and fall of the Southern Dynasties are more profound, the theme of the drama is more prominent, and the audience can more personally understand the feelings of the characters in the play. The ingenious use of the nested double-line structure reflects the author's superb skills in controlling works of art, making Peach Blossom Fan a leader in the legendary drama of Ming and Qing Dynasties.
3.3 Image of Peach Blossom Fan
In terms of images, the article Peach Blossom Fan has many images rather than the most obvious one. Throughout the whole drama, fans, peach blossoms and peach blossoms are also images worthy of discussion. The final formation of Peach Blossom Fan experienced a tortuous process. I was just an ordinary fan at first. Only when Xiang Jun's blood splashed on the fan did it gradually become a peach blossom fan, and this fan became a "peach blossom fan".
3.3. 1 fan image
Fan, as an image, entrusts the poetic feelings of the literati in the play, and also entrusts the author's sentimental feelings for the literati who are in troubled times and eager to make contributions. The sixth time, I wrote a poem on the fan in Sleeping Sweet, saying, "Zhu Lou is inclined all the way, and Wang Fugui is flat. Qingxi is full of magnolia trees, not as good as Dongfeng peaches and plums. " In front of beautiful women, a generation of talented people not only expressed their love for Xiang Jun, but also showed their literary talent incisively and vividly. In the 23rd episode of "Send a Fan", Yang Longyou saw a few drops of blood on the fan, and he painted several broken peach blossoms with the blood of a beautiful woman. This fan plays up the literati's ink and wash feelings. In the first song "Listening to Barnacles", Hou Fangyu satirized the southerners' study of the wind of national subjugation in the Southern Dynasties and said to himself, "Those wild birds are very close to wild birds!" However, Hou Fangyu finally lingered in beauty and learned the appearance of the Southern Dynasties. In the fourteenth chapter of "Prevention of Rape", the "three major sins" and the "five musts" that Ma, Ruan and others have to defend show his integrity and determination. However, in the eighteenth "fight for position", he was timid and said, "Look at the situation first and then discuss." These contradictory psychology and behaviors are actually a portrayal of the literati's mentality. In the twelfth poem "Ci Yuan", Shi Kefa laments that "the yellow dust rises, the king is faint, and the feather fan is difficult to build an army", and expresses his sorrow and desire to make contributions in the last days.
3.3.2 Peach blossom image
Peach blossom, as another image, has both positive and negative aspects in the play. Of course, negative is dominant. Peach blossoms are both fragrant and beautiful, such as "Momoka Li Xiang, this is fragrant, inscribed on the palace gauze fan" in Quexuan; It is also the embodiment of perishable appearance. For example, when Li saw the peach blossom fan painted for her by Yang Longyou in Send Fan, she sang, "Roses on the lips, lotus cheeks, a few hearts are freehand brushwork. Mending some green branches and leaves is particularly embarrassing. The unlucky man wrote a peach blossom photo. " Although the peach blossom is the embodiment of Hou Limei's good love, for example, "Thinking of the day when a young man made love, the peach blossom was in full bloom, reflecting a brand-new makeup building" in "Drawing on a Picture"; But more is the carrier of broken love, such as "unexpectedly, the beauty went and left here."
3.3.3 Peach Blossom Garden Image
Apart from fans and peach blossoms, the image of Peach Blossom Garden is also of great significance in the play. In Tao Yuanming's works, Peach Blossom Garden is an ideal paradise, while in Kong's works, Peach Blossom Garden is more tragic. Peach Blossom Garden first appeared in "Peach Blossom Fan" and listened to the barn for the first time. "We rowed on Taoyuan Road, which is a place where rivers and lakes are full of fishermen." And "Visiting again, Peach Blossom made a mistake, greeting Yu Lang." Peach Garden Road and Peach Blossom Mistake borrowed from Tao Yuanming's Peach Blossom Garden, expressing the pursuit of free life and disappointment that the ideal life in troubled times could not be realized. In the 28th painting, the image of "Peach Blossom Garden" appears three times, "This is a picture of Taoyuan" and "It was originally a flower-spotter, but once again, it will be confused. The fisherman refers to the empty mountain road and avoids Qin from Taoyuan. Back to Germany and Hou Fangyu. " "This flowing stream is enviable. It is a part of Qian Qian. Smoke clouds are lingering, trees are shaded and the breeze is far away. This is still the spring breeze, and no one will love us. It is an empty peach garden. " . "Peach Blossom Garden" expresses the yearning for Li, the longing for refuge in troubled times, and the sadness for the empty-shell peach blossom garden left by the beauty after her departure.
"Peach Blossom Fan" literally means a fan painted with peach blossoms. Its image is a collection of all the above images, which has both superficial significance, such as the joys and sorrows of love, the ink feelings of literati, and deeper significance, such as the contradiction between talent and the desire to make contributions, the rise and fall of the country. Therefore, we can say that the central image of Peach Blossom Fan is cumulative and fuzzy. Taking this special "Peach Blossom Fan" as the title of the play, suspense is set to arouse readers' interest and reflect the author's originality.
3.4 The artistic effect of symbolic narrative structure
Symbolic narrative means, nested double-line narrative structure and the combination of polysemy and stacked images constitute the symbolic narrative structure of the play. This structure first promotes the development of the plot, making the conflict clear and shocking. Secondly, it reveals the real theme of the play step by step, and the feeling of separation naturally melts into the feeling of ups and downs. Finally, the application of symbolic narrative structure to China's ancient traditional classic plays has a great influence on the expression of aesthetic implication and the construction of artistic structure. From the stylistic effect, not only does the whole play implicitly express profound meaning, but it also leaves readers with rich imagination space; From the stage effect, "Peach Blossom Fan", as the title of the play, is also an important prop in the play, which shows that "Peach Blossom Fan" is the core of the symbolic narrative structure of the whole play and plays a media role in the development and conflict of the plot in the drama performance. The continuous integrity of the sector form and the deepening of connotation have produced a gradual stage effect, which has aroused the shock of the audience's mind.
Four. conclusion
Symbolic narrative structure is one of the important artistic features of the legendary masterpiece Peach Blossom Fan in Ming and Qing Dynasties, which plays a vital role in the writing of the whole drama. A study from the perspective of symbolic narrative structure, combined with the relevant knowledge of stylistics and narratology, can explain the whole drama more concretely and deeply. Kong used the symbols accumulated by multiple images and combined with the dual narrative structure to promote the conflict of plots, vividly revealed the essential theme of the rise and fall of the country in the whole drama, and brought the symbolic narrative structure to the extreme, reflecting the socialization of literature and the development trend of human culture at that time. Because of the successful use of symbolic narrative structure, the whole play has produced a mixed but not excessive, grass snake gray line, neither strange nor strange aesthetic feeling, which has produced great stylistic and stage effects.