What are Yingying and Du Liniang in the Palace of Eternal Life?

There are many charming female images in China's classical drama literature, among which Cui Yingying and Du Liniang are two dazzling figures. There are many similarities between these two images, but there are also similarities and differences. Comparing their different images is very helpful for us to grasp these two characters and understand and interpret these two works. This helps us to understand the cultural background and significance of these two female images.

Several aspects of the image of Cui Yingying and Du Liniang.

(A) the awakening of love consciousness

Yingying's awakening of love consciousness began when she first met Zhang Sheng in a Buddhist temple. Before that, Yingying was just a girl who was in love with and hurt by spring. For example, when he came to power, he sang, "But it is an oriental person who deserves the last spring in Pu Jun. The gate of Xiao Temple is closed and the flowers are red. I have a variety of worries, and I have no words to complain about the east wind. " Although there is "a kind of passion resentment that is unwilling to be claustrophobic", you can face your mother "you are a woman, don't tell her." It is not shameful to meet a tourist monk! " The only way to blame him is to "stand up and thank him:' Now I have turned over a new leaf and dare not do it again.' "。 She "usually sees outsiders, and it's still early; "However, it is the result of this kind of education that makes me tired of seeing guests. However, "since I saw Zhang Sheng, I have been fascinated and unhappy. "At this time, Yingying's heart has changed, and it is still the ambivalence of surprise, joy, expectation and fear unique to first-love girls." I have kissed that man since I met him. The Turn of the Eyes is her telepathy when she fell in love with Zhang Sheng at first sight. This became the beginning of his character development.

The awakening of Li Niang's love consciousness began in "Going to the Garden", and Chun Qing provoked emotions: "It seems that such flowers and plants are pitiful, and life and death follow people's wishes, and no one complains, whether it is sour or bright!" In turn, it caused the dream of spring, and the image of Liu Mengmei, the ideal lover in the dream, was illusory. "Years can be a weak crown, Gao Fushuai", "a thousand treasures and ten thousand kinds of tenderness". This also became a turning point in his character development. Prior to this, Li Niang was a standard feudal lady image: quiet and submissive, knowledgeable and courteous. In the words of the girl Chunxiang, "You see, her name is Guose, and she really raised her voice at home. The tender face is shy and the old age is respectful. " After the "Garden Tour", "I suddenly admire Chun Qing" and sighs and boos. After "Dream", it is even more wonderful. "When you are restless, you will feel that you have lost something." Since then, Li Niang has been more open and bold on the road to individual liberation, freedom of love and happiness of marriage.

It can be said that the process of Yingying's consciousness awakening has the characteristics of "life feelings", which determines the specificity of her love object. Zhang Sheng is Yingying's lover: "She looks like a romantic girl, youthful;" The inner child is smart and talented. " Li Niang is not so lucky. In her real life, there has never been a young man, let alone such a "good thing". However, natural affection is inevitable and unstoppable. She can only yearn for love subconsciously, so she dreams from "love" and there is "love" in her dream. This also determines the uncertainty of its object. Liu Mengmei is just a lover in Li Niang's dream: "young and affectionate" and "a likable scholar". Zhang sheng is Zhang sheng, "can't run away", can't change, can haunt. Liu Mengmei is not necessarily Liu Mengmei, or even Liu. Even so, it is still unattainable, and the dream cannot be copied and unpredictable. It can be seen that Li Niang is deeply bound and oppressed, and her living environment is more cruel than Yingying.

(2) ardent desire for love

Yingying's heart is warm and agile, but due to the influence of birth and upbringing, her rich inner world is covered by her extroverted reserve and demure. Inging, who is used to false cover-up, often inadvertently reveals a little "truth" behind "falsehood" after Zhang Sheng appears. And his "complaining more" is the natural expression of his rich feelings. The ardent yearning for love and the desire to be close to Zhang Sheng failed again and again, which caused her uncontrollable dissatisfaction and resentment. The object of this dissatisfaction is the matchmaker who walks around her the most: "But when I leave the boudoir, I am like a shadow." The second one is to the old lady: "My mother is boring and always looking for someone." "Xiao Xiangmei is diligent and the old lady is tight." When the old lady "regards Yingying as her younger sister to worship her eldest brother", she is even more indignant at "this is the old woman in the world". As soon as she left the meeting, she said, "My mother can't say what she wants!" "Poison is not bad! Oh, my mother, a double-headed stamen with trembling friction, was cut open with concentric ribbons and mixed for a long time. " Resentment reached the point of accusation. Even her pocket-friendly Zhang Sheng is indignant: "Scholars are never timid." Scold "suffocated headless goose" looks very calm, but there is a huge wave inside. In the words of the matchmaker: "Be glib with others, you will miss Zhang Sheng when no one is around, and you will frown and cry behind your back." I can see that Yingying is suffering from great pain in her heart.

If you know Yingying's pain and vent your resentment, Li Niang's inner pain is not just "Who knows this hatred!" There is even more "I don't know who to hate!" She can't hate parents, girls or teachers who don't respect her heart. Her misery is not caused by personal factors, but comes from her environment-a barrier that she can't cross: tangible and intangible bondage. Her love for beauty, nature and life is in serious conflict with the living environment that stifles her nature. Her "hidden troubles" can't escape: "Without chaos, Chun Qing can't be dismissed, and suddenly someone is in her heart." "Who saw me sleeping?" "Refuse, this longing words! Drowning, splashing the rest of your life except asking for heaven! " "You feel sorry for yourself." As a passive confrontation of Li Niang's dissatisfaction with reality, daydreaming is still spontaneous. After "dreaming", Li Niang has a clearer understanding of the coldness of reality and a more rebellious consciousness. Although it is inevitable that negative depression will eventually lead to fatigue, it is extremely calm and calm.

(3) Yingying who made a desperate choice and Li Niang who had no hope of waiting.

A private tryst with Zhang Sheng is a very courageous and risky thing for Yingying, and it is a major decision she made after careful consideration (many of which are suspicious and false). Once this step is taken, it will be water under the bridge. Right or wrong, there is no turning back. Yingying made up her mind to ask the matchmaker to send a message to Zhang Sheng: "No matter how good or bad, you won't fail", but she hesitated in action. First, she needs to surpass herself and get rid of the bondage of "ritual" in the struggle between "emotion" and "ritual" in her heart. Second, her upbringing and status make her cherish herself and know the consequences of her "golden body, once lightly thrown away". These include doubts about whether Zhang Sheng is reliable. Third, she is wary of the matchmaker. The matchmaker's status as a "prison guard" and a maid worried her. But there is nothing she can do without the matchmaker "Optimus Prime". "Who wants to lead the needle to the line and be attentive to the east neighbor?" "How can I find someone to communicate with me?" Who else besides the matchmaker? She finally recognized the matchmaker as a "matchmaker mountain", and even refused to put down her lady's airs and come to a "servant girl to worship the handmaiden". Putting this decision into practice is her first step towards a bright future. Although she was forced to "strike first" out of disappointment with "the words of the matchmaker are the lives of her parents", she actually "processed" the questions set by the old lady and then threw them to her. Water under the bridge. This is a genealogy of "making a fool of yourself" and humiliating Guo Xiang. It depends on the old lady's "wisdom" not being legalized.

If Yingying has greater opportunities and initiative in fighting for personal love and marriage happiness, then for Li Niang, this kind of love happiness and marriage happiness has become a "hopeless" wait. Of course, a happy marriage does not have to wait. What is important is that Li Niang's longing for love, marriage and a happy life in marriage has gone through the stages of repression, rebound and re-strengthening. "Suppressing the absolutely natural things of human beings often leads to reinforcement, even pathological reinforcement." (Liu Dalin's China Culture) Li Niang is very sensitive to the opposite sex, but there is no opposite sex in her life that can make her feel good (her living space is actually extremely limited)-let alone love. It is not difficult to see from the plot that Li Niang's youth was delayed, and the primary factor came from Du Fu's selfishness and stubbornness. As an only child, Li Niang is the apple of her parents' eye. She is gentle, quiet, dignified, elegant and graceful, giving her parents the greatest comfort, thus adding a layer of expectation to the future of her family. Li Niang is a good daughter who can entertain her parents and be filial to them. Training Girl made its debut in the first play. "(Dan kneels):' It's a thousand years' blessing that the spring is beautiful today, the parents are sitting in the backyard and the girl dares to be the third prince. "Du Fu smiled:" I was born to you. "Unlike the antagonistic relationship between Yingying and the old lady, Li Niang's relationship with her parents can be kept very harmonious (even if it is only superficial harmony). Watching her drink, she said, "Long live my parents, girls are infinitely happy. Sitting on Don Juan's century-old spring scenery, he walked into a wine family. I wish Xuanhua Toona sinensis, although life is late, it can keep this flat peach ripe all the time. "How considerate! What a comforting word! The words of Shantou Chunxiang are true. " It is very important for her family to regard her name as a national color. Tender face is shy, old age is respectful. "Such a' four corners' good girl, as a parent, how can you let her get married easily? The so-called "ancient men married at thirty and women married at twenty" is just a grandiose excuse for his selfish desire to keep his daughter around for several years. So he insisted, "Does the daughter know her age?" "Babies have seven emotions? It is not difficult to see from his motivation to be a teacher for Li Niang that "thanking the girls for their school books" is his highest expectation for Li Niang. "Embroidery is free, and there are books on the bookshelf that can be used for entertainment. "It was he who arranged a" reasonable "life for Li Niang, so that" I will come to others one day, know how to read and be polite, and my parents will be honored. "After three or five years' delay, Du Liniang's wish of' early marriage and good match' has always failed. In the "hopeless" waiting cage-like life and "life and death are satisfactory", Du Liniang obviously yearns for the latter. "When waiting for the fight, you will be fragrant, rainy, beautiful and meet Megan." "If I don't go to this pavilion again, I'll fight for a long sleep and a short sleep!" "Short sleep" is hard, and Li Niang can only choose "long sleep" in the end.

(4) Ying Ying after "overstepping" and Du Liniang after "rebirth"

Yingying, who broke through the shackles of the ethical code spirit, showed unprecedented boldness and despair after crossing the "thunder pool". Inging, intoxicated with the nourishment of love, not only "grows up spiritually and has a different romantic style", but also shows "a trance in language and a myriad of thoughts", so the performance of being carried away by love naturally falls in the eyes of the "more thoughtful and emotional" old lady. Inging, whose love is not legalized, not only does not strive for "eternity", but is "a slave is hard to get out, which is called lang's wanton pity" This makes the matchmaker who often "speaks his mind" complain: "You wear the moon and the stars together, who will take you to sleep all night?" Yingying, after all, was too careless to know that the danger was approaching: it was inevitable to copy the red. Yingying's first reaction after the incident was to ask the matchmaker for help: "Good sister, cover us!" " However, Yingying here is different from Yingying in previous works after all, because what she read is "Full moon is covered with clouds, and flowers need urgent rain! "Although there was nothing I could do, I was calm. Although the "dark clouds" destroyed the "full moon", the "sudden rain" is not necessarily a bad thing for Hua Mao: although the sudden rain can destroy the "first flower", the re-issued flowers will be more vital because of the "sudden rain". It happened in the east room, but it relieved her of a burden. Love for Cui Zhang is a step forward. There is both the dialectics of "death and afterlife" and the joy of "bright future".

If Yingying, who has gone beyond the rules, is bold but cautious and preoccupied, then Li Niang, who has been reborn, is almost melodramatic and preoccupied. It is natural to marry Liu Mengmei. To die for him and live for him is already a "brief encounter". When all the dreams come to you at once and everything comes to you, Li Niang becomes reserved and shy again: "As the ancient book says, you must wait for your parents' orders and the words of the matchmaker." Even Liu Mengmei couldn't help laughing at this: "Although it is not a spy at present, it is already a grave. Miss is going to start studying again today. " Li Niang has her own "truth": "Ghosts are the night before, and people are today. Ghosts can be illusory, and people must be polite. "So' ghost' is just a means to get married? (also the author's means). It turns out that the "children's affair" of "life and death" is not worth the "parents' life"? It is strange that the scholar is "in a hurry." However, the following explanation is moving: "It's not that my ghost is a slave of the makeup demon. Half-dead back and forth, afraid of rain clouds. Some people are alive, but they have to rest for half a year, but they have to stop their feelings for half an hour. " Li Niang, who was originally a "survivor", was still in shock, afraid that everything would come in a hurry and come and go quickly. Li Niang's deep affection can be seen here. I also saw Li Niang being tied up again here. "Marriage" is just to avoid "exposing things" and adopt the expedient measure of Taoist dialect.

(5) Yingying's "Leaving Sorrow" and Li Niang's "Leaving Love"

Yingying and Li Niang both tasted the sweetness of love at first, and then suffered the pain of parting from their sweetheart. However, the degree and content of the pain are quite different: in Yingying, you don't hate parting; In Li Niang, this kind of parting is much lighter. First of all, the reasons for leaving are different: Yingying and Zhang Sheng were forced to leave, and Zhang Sheng was forced to send him on the road for fame. The last thing I want is Yingying. Li Niang separated from Frida Meng because Li Niang was worried about her parents' safety and sent Liu Lang on her way. What is even more reluctant is Liu Mengmei. Secondly, the destination of the trip is different: Zhang Sheng goes to the emperor's feet, and his feet are wireless; Liu Lang is going to his parents' side and has his own constraints. Third: the length of parting is different: the former is long and the latter is small. Fourth, the worries of parting are different: Yingying has a lot more troubles than Li Niang: she is afraid of "no news of fish and geese in a spring"; I am afraid that "the golden list will never return"; I am afraid that Zhang Sheng will "stop his wife from remarrying"; I'm afraid he "sees exotic flowers and plants, which is like staying here late." Li Niang just misses Frida Meng's Lonely Road. Yingying's sorrow and hatred are particularly deep: at the sight of the arrangement of chariots and horses, "people can't help but go to fry;" Hate parting: "It's better to have the same lotus head than the first scholar." Complaining about the name and mother: "Snail horn is a false name, fly head is a small profit", and Yuanyang is divided into two. A wall, a wall, a hand sigh. "I don't want to" new champion peanuts all over the road, a good couple like water. Li Niang said, "Lang is probing the lintel. "。 The joy of rebirth is not small. "I didn't expect beggars to be slandered by passers-by in the blink of an eye" and "Du Pingzhang hangs the champion lang". Yingying's detailed description of her feelings is true: "Go to the capital to get water and soil, and take advantage of the journey to save food and drink. "Take care of yourself in time, decadence, rain and dew go to bed early, and wild shops get up late. In the autumn wind of pommel horse, it is the most difficult to recuperate and support is the most important. " Li Niang's explanation is simple: "Liu Lang, don't go back until it is safe there. Don't just listen to oral sex on Yueming Bridge. " Yingying is thinking about the pain of acacia in the distance: "Although we have been good companions for a long time, why don't you cry when you endure?" Aggravate sadness; Li Niang is looking forward to the joy of meeting: "it will be cold when you go, and you will come back to win the championship" to dilute your feelings.

(6) Yingying and Li Niang in the happy ending

Before meeting Zhang Sheng again, Yingying suffered from lovesickness and was hurt by Zheng Heng's lies (Zheng Heng lied that Zhang Sheng's husband was Wei Shangshu's family). ) After being frightened by the fact that her husband Zheng Heng is a few percent (Zheng Heng is dressed neatly and ready to be a son-in-law. So, even if Zhang Sheng returns home with clothes on, how can he be "happy"? Zhang Sheng is the only one who is "proud of the spring breeze". Yingying's heart gradually quieted down. Perhaps in Yingying's mind, this "high school champion, full of ambition" groom is different from Zhang Sheng, who used to be "literate and talented, but the wind is not sour". Yingying rarely said after returning from Zhang Sheng: "When I don't see you, I have prepared a thousand words. When I see you, I will become a sigh. He came in a hurry. How could I be embarrassed? I'm just waiting for someone to tell me that when I meet you, I won't say anything but' Mr. Wan Fu'. " It can be seen that it is difficult for Yingying to get rid of the shadow of disappointment and fear in her heart in a short time, and it is also difficult to eliminate the gap with Zhang Sheng in a short time. A "hello, sir" suddenly opened the intimate distance between her and Zhang Sheng. Fame and love are not completely unified for Yingying: Zhang Sheng didn't win the first prize and was not qualified to marry her; Zhang Sheng won the first prize in the exam, but he was afraid that he would "marry and remarry". In the end, the result of "rich wife is expensive", although it is a victory for feudal parents, can not make Yingying overjoyed, which is consistent with Yingying before.

Compared with Ying Ying's performance of "tending to be calm" in the finale, Li Niang showed "great joy" after "great sorrow" in the finale. There are four joys: one is the rebirth of the gate of hell; Two happiness and good collocation; Sanxi husband high school; Sixi relatives meet. By this time, Li Niang was completely happy. Li Niang, who was overjoyed, showed a quick mind and a passion for answering questions. Du Bao slandered and said, "Ghosts are evil. I'm afraid no door is right. What do you want from Liu Mengmei? " At that time, Du Liniang smiled and said, "That's because he was wearing a black veil like a simple robe, laughing, laughing, laughing." Some people are complacent: "parents, the world is high during the day, and there is no official." In your daughter's sleep, she chose a top scholar in the ghost cave and said she was suitable! You Duling is used to scaring girls, but he is also very popular in Liuliuzhou. " Finally, I want Liu Lang to "worship my grandfather!" At that time, I was even more excited: (pulling the raw interface and pressing the raw shoulder interface) "Ah, ah, you are so poor. Good, good, good, easy to untie the jade belt and fork the jade hand. Bye, bye, bye, bye. Jump. Pull, pull, pull, do Taishan fall. He, he, he hired us with yellow money. I, I, I, got a cold dish to eat his tea. (referring to the last interface) You, you, you, and other officials, tell the news. Yes, yes, yes, yes, it was he who opened the coffin and saw it removed. (referring to foreign agents) Dad, Dad, Dad, you have had enough of this evil ghost. " We are not surprised that Li Niang changed her sadness and depression in the past and became cheerful and cheerful. This is actually Yuan Li Niang. With the greatest legalization and glory of "giving a reunion", I not only gained a great advantage against my father, but also brightened the lintel as I hoped. In the eyes of people at that time and later, this is the happiest ending.

Second, the characteristics of the times reflected by their images.

The Yuan Dynasty, when The Romance of the West Chamber came into being, was a chaotic era in which the whole social thought lost its focus and balance. (Yin Peng's analysis of gender culture in Yuan Dynasty) At the beginning of Yuan Dynasty, Mongolian rulers had just left slave society and had not established a strict etiquette system. The Yuan and Mongolian nobles who did not understand and reject the culture of the Central Plains failed to take the initiative to accept Confucianism, which had ruled the Central Plains for thousands of years. The restriction and imprisonment of thought is not strict enough. Zhu Yuanzhang pointed out in summing up the lessons of the demise of the Yuan Dynasty that "indulgence leads to death, and it is lost in indulgence." (Zhu Yuanzhang's allusions, Volume 2) The traditional concept of regularity has been weakened to some extent. "In the past, the foundation of power moved south, the river collapsed, the sky shook, and people were greatly scratched. Who can maintain it! " (See "Collected Works of Mr. Jing Xiu" and Liu Yin's Preface to the Poems of Zhailiang Women. The relatively loose cultural policy of the Yuan Dynasty enabled a large number of works reflecting reality to be produced. The Romance of the Western Chamber, which was banned by the rulers of past dynasties, came into being under such a background, and it was "the best in the world". The works created a vivid artistic image of Cui Yingying by strict realism. Yingying's concern for Zhang Sheng, her "indecent behavior" and her boldness and concern for pursuing love are quite real. The theme of "May all sentient beings in the world be well" is warmly praised in the works, and the choice of the heroine Yingying opposes the traditional feudal marriage and the "matchmaker's words, parents' lives" system.

In the Ming Dynasty created by Peony Pavilion, the rulers, on the basis of summing up the lessons of the downfall of the previous dynasties, strengthened the rule of cultural thoughts from the beginning and standardized the thoughts of intellectuals with Zhu Cheng's Neo-Confucianism. "Let the world read its books, be taught by it, and behave in its own way" to "support people's hearts and help the world teach". The frequent rise of literary inquisitions in the Ming Dynasty persecuted those literati with bad feelings, which made them worry a lot about their creation, avoiding the current situation and fearing disaster because of their words. The further development and prosperity of the economy in the middle and late Ming Dynasty brought about great changes in social consciousness. As a believer, practitioner and disseminator of emotion and reason, Tang Xianzu expanded the influence of emotion with Peony Pavilion. In the inscription of Peony Pavilion, he said: "Where there is no reason, there is no information!" Advocate "true feelings are the most important" and oppose the bondage of Neo-Confucianism to people's body and mind. The works created an artistic image of Du Liniang with strong romanticism. Through the clever handling of "dream" and "underworld", Li Niang transcends "the physical and spiritual bondage imposed on her by reality and the world, and reaches an infinite free space and realm" (Sun's "Sexual Dream Decorated by Romantic Art"), thus boldly obtaining a happy love. This not only escaped the strict moral test, but also was forgiven by the mainstream moral principles. In the inscription at the beginning of the article, the author added: "Why is the love in the dream not true? There are very few people dreaming in the world! " Huang Shusu commented on peony and said: "Li Nianmiao died for three years and came back to life. The latter can die, but not be born. " All these show the practical significance of Du Liniang's image. The contradiction between Du Liniang and the social environment that binds her is the sharp opposition between "emotion" and "reason".

The relatively weak ethical concept of the rulers in Yuan Dynasty made the oppression and bondage of women relatively relieved. "Biography of Heroes in Yuan Zaju": "Young girls are in harmony, indulge in the privacy of love, don't listen to the words of history, and don't guard against it, so they often fall into evil." The ceremony of women's release is a sigh that the world is getting worse and worse, and it is also a true reflection of social reality. As nomadic people, the Yuan Mongols conquered the agricultural people in the Central Plains. "It is people who are in the primary stage of patriarchy and have a higher status of women who have conquered people with a very developed patriarchy and a lower status of women. Therefore, this conquest did not cause a general decline in the status of women, but a slight rebound. " (Variations for Men and Women, edited by Min Jiayin) "The Confucian concept of gender, which has always controlled social thoughts, has lost its inherent deterrent under foreign rule." The traditional concept of "men are superior to women" has been weakened in Yuan Zaju. As a male, Zhang Sheng is different from men of any era. He no longer takes a "overlooking" attitude towards women, and even turns to an "looking up" attitude. In the eyes of "lover" Zhang Sheng, Yingying is undoubtedly perfect and unique. When he first met at the Buddhist temple, Zhang Sheng took Yingying as "Guanyin in the South China Sea" and took a close look at Yingying in a short time. Later, "Buddhist Poetry" was even more impressed by Yingying's talent. "It's a shame on your face, but it's good to have wisdom buried in your heart." And "Recombination of Acacia." Zhang Sheng's infatuation with Yingying first stems from Yingying's beauty, but it is not limited to beauty, but also has personality charm and talent charm. This is different from other paternal cultural stages and is subject to men's aesthetic desire for women. In Yingying's eyes, apart from "learning to write with stars one day", Zhang Sheng also has "a handsome face and a gentle temperament", that is, they are attracted not only by their looks and talents, but also by their congenial temperament. Compared with the general sense of "perfect match", (including Liu Mengmei and Du Liniang) has made great progress. These all have the distinctive features of the Yuan Dynasty.

Neo-Confucianism in the Song and Ming Dynasties developed from Cheng Er's "little hunger and great shame" to Zhu Zhi's "keeping justice in nature and destroying human desires", and reached an increasingly fierce stage in the Ming Dynasty. The bondage to women has also reached an unprecedented level. It is manifested in the increase of books that preach women by "maintaining morality". There are many chastity archways. "Looking at the past history will almost double." By portraying the image of Du Liniang, The Peony Pavilion profoundly reflects the inner pain of young women and their yearning for a better ideal, which has aroused a particularly strong response in the female world. According to the textual research of Jiang Ruizao's novels, Notes on China records: "A talented woman in Guangling died of a bad guy in two years. Before he died, he made a quatrain: "You can't listen to the cold rain in the secluded window, but look at the peony pavilion with lights on. "Some people are crazy about me, and Xiaoqing is sad." It can be seen that the image of Du Liniang shocked her mind. The same example is the cloud in Tang Xianzu's "Two orderly weeping Loujiang women": "Loujiang women are uncomfortable with Er Nian's words. I love the legend of Peony Pavilion, flying over the small print and commenting on its side. Meditation is bitter and hurts words. Seventeen ended in anger. " It is also the book Textual Research of Novels, which quoted in the book Fang Qing's Free Pen in the Moth Art Hall: "Hangzhou actress Xiao Ling had a love affair, but she was' frustrated in love, so she became depressed'. Similar to Li Niang's fate, every time she plays "The Legend of Peony Pavilion", she completely integrates herself into the role and feels the same. I was moved by sadness and tears filled my eyes. One day, she performed in' Seeking Dreams' and sang to a sad place, at a loss. " It can be seen that the image of Du Liniang has profound practical significance.

The attitude of the hero and heroine towards fame and fortune in the works is consistent with that of the author in the real society. In The West Chamber, Yingying's attitude towards fame is obvious: "The horn of the worm is a hollow name, and the head of the fly is a meager profit". Even Zhang Sheng was willing to stay behind Yingying, but he didn't force her. He has long forgotten about becoming famous. Cui Zhang's attitude towards fame is not only restricted by the author's attitude, but also closely related to the author's situation. Wang Shifu's creation of The West Chamber coincided with the abolition of the imperial examination system, and the rulers of the Yuan Dynasty paid more attention to officials than Confucianism. "Vulgar Confucianism is useless, but now it can be abandoned" (Lu Yuanwengui's Preface to Send Feng Boheng to the East Wall), which once abolished the imperial examination system and shattered the ideal of literati "learning literature and practicing martial arts, and the goods are in the emperor's house". "Vulgar sources are not expensive, and couples are small. Whether Master Wang is interested in fame and fortune or not, the real society will not give him the hope of career promotion. In The West Chamber, Wang Shifu also reveals his feelings about not being able to be embodied: "It's not as difficult to be a layman as one wishes." In his other work, Broken Kiln, this feeling is much stronger. The conclusion says: "People in the world can't abandon Confucianism, and it will be glorious to keep a cold window. If you don't believe in the truth, you need a dragon and a tiger. "Wang Guowei said in the Study of Song and Yuan Opera:" The authors of Gai Yuan Qu are all non-famous scholars; His plays are not only famous mountains in Tibet, but also have the significance of being handed down by people. He entertains himself by doing what he wants. " "Peter wrote the feelings in his chest, and the environment at that time, as well as his sincerity and Xiu Jie spirit were revealed in it. Therefore, Yuanqu is the most natural literature in China. "If Zhang Sheng in The Biography of Yingying has the shadow of Yuan Zhen, it is not excluded that Zhang Sheng and Cui Yingying in The West Chamber have more or less pinned the thoughts and ideals of the author Wang Shifu. Zhang sheng's "affair" is impossible in reality; The "opportunity" of "being the top scholar" was even more impossible in the Yuan Dynasty. The so-called happy ending of "officials become famous in one fell swoop and love gets what they want" is just a dream shared by scholars all along. But in the Yuan Dynasty, "it was just a dream, but a play in short" and "the dream of reunion was colorful". (Zheng Zhenduo's Trilateral Love Drama of Merchants and Prostitutes Written by Yuan People)

In The Peony Pavilion, Du Liniang's ideal lover did not appear in front of reality, but he meant "the guest of the moon" and "the husband who won the laurel". Of course, he also wants to be "young and handsome", but he is second, not equal to fame and fortune. In Liu Mengmei's eyes (or in her dream), Du Liniang is a beauty at first, and at the same time she is associated with her "marriage and prosperity". "Man said that books can be rich. Where are Yan Ruyu and gold?" Fame and love have different weights in the hearts of two young men and women. Interestingly, there are plots of the protagonist's suicide in both works: Zhang Sheng's suicide is due to marriage resistance, while Liu Mengmei's suicide is due to reputation resistance. Liu Du's enthusiasm for fame also stems from the author Tang Xianzu and is closely related to his experience. On the one hand, the rulers of the Ming Dynasty promoted the stereotyped imperial examination system to select scholars, on the other hand, they saw the hope of being an official and induced them to make unremitting efforts for this goal. Tang Xianzu, who lived in that era, was also unavoidable. When Tang Xianzu was a teenager, he was deeply influenced by his father: "My family always supervised me to check Confucianism." When I was young, I loved to use rhyme, but "time was taken away by my son's career, and my heart was scattered but not refined." "From five years in Qin Long to eight years in Wanli, I have gone through ten years, and I have not been admitted for five times." Even he himself deeply felt that "he was eliminated by his career as a scholar and his repeated visits to the spring officials." But I was born in the 11th year of Wanli. Therefore, although Du Liniang is inevitably suspected of "being a national ghost", "sealing his wife and covering his children" is also in line with the psychology and wishes of most people at that time (including later).

In a word, apart from their different personalities, Cui Yingying and Du Liniang have different images, many of which come from the times and cultural backgrounds.

The difference in the shadows that fall on them. When you read his books, you should get to know him and talk about his life. Through the analysis and comparison of the two female images, we have a more accurate grasp and clear understanding of them, and have a deeper understanding of the two famous works and their times. So as to enhance our modern people's strong interest in classical masterpieces.

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