This is the most striking example in the history of China's ancient literature. Her persistent pursuit of love and complete opposition to ethics and morality are at the forefront of rebellious female galleries in the history of ancient literature. Especially the unique experience of being born to die and being born to die is also very rare. What characteristics the author gives this image and how to give her characteristics are all involved in the later analysis.
1. The influence of feudal social environment on his character formation. There are three elements in the formation of anyone's character. One is natural endowment, the other is the society we live in, and the third is personal experience. The latter two refer to the environment. The influence of the environment on people is enormous. In fact, the starting point of Du Liniang's character is very low. This is determined by the environment in which she grew up. She was born in a typical feudal scholar-bureaucrat family, and the family was filled with a strong feudal ethical atmosphere. Her family is a feudal bureaucratic family, and her parents only have an only child. They are regarded as the apple of her eye and are very concerned about her every move. Her father, Du Bao, was a satrap and was born as a Confucian scholar. He has a strong orthodoxy and is the representative of traditional morality. He is loyal to his duties and abides by moral standards. And her mother, Zhen Shi, is a good wife and mother. The author wrote about their education in Du Liniang in particular. Du Liniang takes a nap when she is sleepy because of the long days in spring, and Du Bao will scold her. Zhen Shi was frightened to disgrace because Du Liniang went to his garden and embroidered a pair of flowers and a pair of birds on her dress, for fear that her daughter would learn badly. A maid and a Taoist teacher were also arranged for her. The former monitors her movements. The latter is responsible for her education. Therefore, their love is not a simple biological sense of child care, but has a deep social utilitarian color. Their purpose is to train their daughter into a model lady required by feudal society. In a word, she is required to act in strict accordance with moral standards. Her environment is a reflection of the bad ethical environment in Ming Dynasty, so her environment is more terrible, cold, dreary, closed and suffocating than Cui Yingying. Feudal ethics is everywhere around her. This kind of shallow or deep education left a deep imprint on Du Liniang.
2. The author describes the unique process of her youth awakening and going to the opposite side of family education, which is reflected in the development and change of her personality. This is not only reflected in her pursuit of a happy marriage, but also in her resistance to her family, that is, society's good life path. Compared with Cui Yingying, her resistance is very different. Yingying's affection for Zhang Sheng is based on love at first sight, so her goal is always an independent marriage. Even her "appreciating treasures" behavior is not out of young women's desire for the opposite sex, but out of pity for Zhang Sheng's lovesickness. Du Liniang's pursuit of Liu Mengmei is not for the happiness of marriage, but only because with the arrival of female adolescence, she wakes up from her youth and has an instinct of longing for a different sex. This inevitable phenomenon at a certain stage of life prompted her to live a peaceful and happy life with Liu Mengmei in her dream. The combination of her and Liu Mengmei took a different road from Yingying, with desire first and affection later. Because her awakening is based on natural instinct, her behavior of choosing her own path is more typical than Yingying's, and her resistance is broader and deeper, more meaningful, and more anti-human to suppress her feudal ethics.
The formation of her rebellious character is divided into three stages, one is awakening, the other is pursuing, and the third is resisting.
Her character has a low starting point. At the beginning of work, she was a beautiful and intelligent girl, with the general characteristics of a noble lady, gentle, docile and steady. She herself intends to strictly use ethics to restrain her words and deeds. Her young mind is full of feudal ethics. Compared with Cui Yingying in The West Chamber, her feudal orthodoxy is stronger, so from the standpoint of family, her personality starting point is far lower than Yingying's, and she doesn't even have Yingying's feeling of hurting spring. We can see it clearly in the book boudoir. She sang: "Lian Bu carp moves, Confucianism is old." Those virtuous women are all ancient mirror models. You will know a little about books and be a good slave. "Although she was tired of Mr. Chen Liangliang invited by her father, it was a winter toast to her husband, not a moral code. When Chunxiang was at school, Chen Liangliang threatened to fight, but she begged her to give up. Chunxiang secretly called each other "an old cow and an old dog in the village", and criticized Chunxiang on the principle of being a teacher for one day and a father for life. Yao Ming is on Chen's side. This shows that she is not enlightened and ignorant in personality requirements at this time. At this time, there was nothing in her mind except feudal ethics. But it also allowed her to accumulate more energy than Yingying. As the saying goes, extremes meet. Because no education can change people's physiological characteristics.
The dream of visiting a garden marks the awakening of Du Liniang's youth consciousness. The work is written in detail, which is the result of three factors. One is the physiological reasons, the other is the poetic description of love in classical literature, and the third is the beautiful spring scenery in nature. Beautiful nature and poetic description in ancient literature are external causes, and physical maturity is internal causes. The work shows how these three factors affect her. According to Freud's theory, if a person's id and superego can reach a balance, he is regarded as a normal person by society. Otherwise, you will suffer from mental illness. Du Liniang just can't get this balance. Because my repression of sexual instinct is too strong, far beyond her physical and psychological endurance.
Physiological cause is internal cause. She is sixteen years old. Physiologically, she has female characteristics and is basically mature. This is a physiological phenomenon that can't be changed by any ethical code and suppression, and no matter how closely monitored, it can't stop the girl's physical maturity and the psychological changes that follow. During this period, women will be extremely sensitive to the feelings of men and women. Any external stimulus can be a catalyst. The feudal ethics knew this well and tried every means to block and suppress it, but it violated human nature and often backfired. Du Liniang's parents did this, and she was not allowed to have any contact with the outside world. She didn't even know there was a big garden in her house, but Chunxiang told her. The teacher was also invited to use ethics to deal with her physical and psychological changes. As a result, they didn't expect that the problem was in the Book of Songs. Chen Liangliang talked about Guan Ju, the first chapter of The Book of Songs. Although he used the Book of Songs as an educational tool according to the Confucian tradition, and made a far-fetched explanation according to Shi Mao's annotation, and expounded its subtle meaning, the love description in the poem was not recognizable by one or two pedants. This wonderful love song inspired Du Liniang's youth consciousness. Chunxiang said bluntly, "Read the first chapter of Mao's poems,' My Fair Lady, Gentleman is Good', abandoned the book and sighed,' This is the feeling of a saint. ".Today is the same as the past, otherwise? ""In the Confucian classics used to suppress human nature, there are factors that enlighten human nature, which is a wonderful irony. Of course, this is just a hazy spring depression, not a conscious pursuit of love. Without other stimuli, it is impossible to explode immediately. Then going to the park is the direct cause. Chunxiang asked her to go to the garden at this moment, but she refused because of her master's ban, but Chunxiang said that the master was not at home to persuade farmers to go to the countryside, and it was time to go out to play. Du Liniang finally went to his garden for the first time in his life. The beautiful scenery of "colorful" made her immediately find the intersection of spring, Chun Qing and youth. " God, Nunian is 28 years old. I'm not married yet. I suddenly admire Chun Qing. How do you receive guests at night? You really waste your youth. Time is like a gap. "She is like a delicate grass, which broke ground under the moisture of spring breeze and rain. Love is human instinct, which cannot be suppressed by reason. Her awakening is the awakening of human nature. This is the repressed sexual desire in her pre-consciousness, which is breaking through the limitation of superego and is eager to try. Physical maturity is the foundation and external trigger is the condition.
Here, the author shows the moment when a girl wakes up in the garden with amazing artistic insight and delicate description. First, I found my charming beauty from the charming beauty of spring, and my heart was choppy. In the eleventh "A Dream of Scared Dreams", Du Liniang is going for a spring outing, so let's dress up first. At this time, I looked in the mirror and went into a trance. I am obviously proud of my beauty, but I am embarrassed. Dressing up is for people to see, but she said, "No one can see the benefits of just three spring days, so don't be wary of falling fish and birds." I'm afraid I'll be ashamed of flowers and close my eyes. "Afraid of being seen. This is indeed a typical psychological state of adolescent girls. It is when a young girl is in the seed of love that she has the nature of loving beauty, so she is proud of her beauty, but she also cherishes herself and is shy.
Later, I thought of the natural beauty of my youth being buried. The prosperity of nature and the struggle against spring dazzled her and reminded her that she was imprisoned like a prisoner. Born in a dark environment and in an inner room, she is strongly dissatisfied that no one knows her. Beautiful spring scenery does not bring you interest, but adds a period of pain. This is the so-called annoying spring scenery. This is what the ancients often said about the feeling of spring. On a whim, she returned disappointed. The external stimulus induced her to yearn for the love of the opposite sex clearly, giving off a feeling of life like a leaf. Under the urging of nature, the latent and hazy love consciousness finally has a clear direction, and finally realizes that the reason of depression lies in the lack of love of the opposite sex, and the pursuit of love between men and women is also natural.
Like peeling bamboo shoots, the author describes in detail the process of youth awakening in Du Liniang.
The second stage of Du Liniang's personality is a period when she pursues by hook or by crook. In her works, she went from dreaming to getting married, from dreaming to feeling, from feeling death, from death to resurrection.
The real conflict between Du Liniang and the environment and his feudal ethical consciousness began with a dream. She fell asleep with a longing for the opposite sex. Thus, the scene of a dream tryst naturally appeared. According to the logic of life and personality, the author combined Du Liniang with Liu Mengmei in fantasy, and a "sexual intercourse" which was despised by Taoists took place. In her dream, she met a man and boldly courted her. She reluctantly accepted, and the escort appeared to protect her secretly. When writing, the author is very bold in pen and ink, and describes the detailed process of two people making love through the eye of the flower god. This is the first climax of her character. In the dream, she vented her burning desire accumulated for a long time. Neo-Confucianism believes that there should be no love between men and women, and the motivation of this love should be suppressed by courtesy. Don't let go of your desires. For women, the pursuit of sexual desire is especially evil. In the works, the awakening of a girl's instinctive desire is completely affirmed by positive pen and ink, which shows how strong the author's tendency to reason with emotion is. This recklessness is a bold challenge to neo-Confucianism.
Then, the author unfolded a strange plot in a romantic way. Du stubbornly pursues the opposite sex in his dreams and is in a very embarrassing position in real life. Dare not openly express her desires, so she has irreconcilable conflicts with the environment and personal feudal ethics consciousness in real life, and can only die in the form of double suicide. She revisited her old place and tried to find her old dream, but the Iraqis were out of sight. So she drew her own picture with her own hands, put it in a box, and then she died of illness. According to her will, her father buried her in Liu Mengmei's dream garden and put the box with photos in front of the grave. Liu Mengmei passed by here and saw this photo. It was love at first sight. So the ghost of Du Liniang came to see him. It is precisely because of this true feeling that Hades was moved and brought back to life, broke out of the coffin and married Liu. From a realistic point of view, this love affair is absurd and unimaginable, but from the point of view of condensing the author's feelings and beliefs, it is true. It is here that her persistent pursuit of personality characteristics has been fully demonstrated. This pursuit even transcends the boundary between life and death, which shows how strong it is. The author said in Peony Pavilion. Inscription ","Isn't a woman in the world as affectionate as a beauty? I dreamed that the man was ill, even, painted by hand and passed on to the world, and then died. People die for three years before they can regain their vitality, and people who seek dreams in the backcountry are born. Such as Li Niang, is the lover's ear. Somehow, the living can die and the dead can live. People who are born but can't die and die but can't be resurrected have no feelings. "Here, love has become a transcendental object, deified, it can be separated from the body, beyond time and space, with eternity and dominance.
The unyielding resistance is the outstanding feature of Du Liniang's character in the third stage. This is also the stage of her character completion. If there are only the first two stages, the theme of the work will be incomplete. Because I just wrote about love and its great energy, but I didn't write about the positive influence of love on reason and winning it. After her resurrection, she returned to reality, but in reality she lost the freedom she gained in fantasy and was once again bound by feudal ethics. She asked her father to admit her relationship with Liu Mengmei, but not only did she fail, but her father didn't even admit her daughter, thinking that her daughter was dead and would never be resurrected. From having illusions about her father to resolutely fighting against him, her character reached its peak. I'd rather not be a Adu girl than leave Liu Mengmei. In feudal society, it is really commendable for a woman's character to develop to this height. Finally, the emperor made a decision to give their marriage legitimacy and forced Du Bao to recognize his daughter and son-in-law. In imagination, the author turned over the fact that emotion can't overcome rationality in reality and played the strongest voice of the times. At this stage, although her emotion and reason seem to have reached a compromise on the surface, this compromise is based on emotional victory, and reason is the loser. It is only by such a trite form that she managed to maintain her face. Of course, we can also see from this ending that the author's "love" is only relative in the final analysis, not overwhelming and absolute.