Problem description:

The best is the style of the paper!

Analysis:

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 her family's "virtuous" and wants to be a model for her daughter. Du Bao has the final say, say "but respect" and do 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, "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.

The Peony Pavilion is a romantic work, and Du Liniang is a character created by the writer using romantic creative techniques. Du Liniang's life has gone through four stages and three realms, namely, from reality to fantasy, to the underworld, and then back to reality. Basically, from birth to death, the playwright endowed "emotion" with great power beyond life and death. In order to show his ideal future, he described Du Liniang's struggle and its victory with passionate feelings and absurd plots. Du Liniang fell asleep because of the injury of spring, because his dream was ill, because he died of illness, and because he died, he met his lover. In fact, it is not limited to the love between men and women, but includes all reasonable desires and requirements of life. Such desires and demands can not be satisfied in the real society ruled by feudal ethics, so we have to pin our ideals on the outside world. In the playwright's view, happiness beyond reality is just and reasonable, so Du Liniang was sheltered by the flower god in his dream and supported by the judge in the underworld; At the same time, the playwright simply thinks that happiness is real. He said, "The love in the dream is not true." In addition, the playwright further combined Du Liniang's experience of man and ghost into an ongoing struggle against a real man, which is called "the difference between people". In the past, love stories with romantic fantasies usually ended in the death of the protagonist, which often led to tie trees growing on the double graves or the soul turning into colorful butterflies. However, Tang Xianzu took the death of the hero as a new turning point in the struggle, allowing Du Liniang to freely combine with Liu Mengmei in the nether world. Tang Xianzu is not satisfied with writing what should be so in the surreal realm. He continued to bring the ideal description back to real life, that is, "the marriage between ghosts and the first story, and the trial on earth." The freedom of the underworld combined with the earth and achieved a complete success. This is undoubtedly telling readers and audiences that persistence and perseverance can break all spiritual shackles and strive for their due right to exist. Romanticism is idealism. In the process of pursuing an ideal, it shows a strong * * *, persistence in corruption and rebellion against decadent traditions, which are the main creative characteristics of Peony Pavilion as a romantic drama.

Romanticism in The Peony Pavilion also contains negative elements. In order to highlight the power of "emotion", Tang Xianzu basically confined the hero's struggle to the field of personal spiritual life, and as a result, subjective feelings decided everything. His understanding of "love" itself also fell into agnosticism, thinking that "love doesn't work". Therefore, Du Liniang's description of "flowers and plants are loved by people, and life and death follow people's wishes" always seems to be covered with a layer of smoke, and the lyrics are often deep and obscure, giving people a vague feeling. Tang Xianzu once said, "If there is nothing, it will be beautiful." Behind this aesthetic concept is his dreamlike nihilism. This thought was played as "emotional enlightenment" in his later plays, such as Conan's Story and Handan's Story, which means "color emptiness", and Tang Xianzu later sought a home from religion.