What are the four great love dramas in Yuan Dynasty?

-Thirty-four comments on Yuan, Ming and Qing operas

The plot of Yuan Zaju is generally developed by four paragraphs: the beginning, the sequel, the turning point and the ending. The development of the story lines of the four major love dramas in Yuan Dynasty is also divided into four steps: meeting, blocking, parting and reunion. In Four Steps, the author uses typical folk images and folk stories to reflect the characteristics of people's folk culture, and in his works, the contradictory struggle of folk life runs through the whole process of plot beginning, development and climax, and the entanglement between characters and customs is regarded as the main axis of development and communication of contradictions and conflicts. Such a plot structure can more profoundly reflect people's folk psychological characteristics. Today, we will interpret the plot program and the national culture contained in the four major love dramas of the Yuan Dynasty.

Folk culture is a cultural form rooted in the common people and loved by the broad masses. It is also a folk art, an artistic custom. There are a large number of folk cultural factors in Yuan Zaju.

The performance of Yuan Zaju belongs to Lianju. The whole plot development can be roughly divided into four sections: the beginning (beginning), the continuation (small climax), the turning point (big climax) and the ending (end). Each section has a divertimento as the core, and its dramatic structure is often four folds and one wedge. Wang Shifu's Romance of the West Chamber, one of the four great love dramas in Yuan Dynasty, is a large-scale comedy with a 20% discount, but the story is divided into four steps. There are also four programs: the beginning (beginning), the connecting link between the preceding and the following (small climax), the turning point (big climax) and the ending (ending). Mr. A Jia said: "The program is not a simple and direct reflection of life, it should widely absorb materials from life. Programmers have a big and strong appetite. He chews slowly, eats both soft and hard, and spits out what he can't eat. This is called synthesis. The program is a synthesis of China's traditional opera art. Wang Shifu's Romance of the West Chamber, Bai Pu's Going Up to the Wall at once, Zheng Guangzu's Away from the Soul and Guan Hanqing's Moon Pavilion are four major love dramas in the Yuan Dynasty, and their story "Four Steps" plot programs also reflect the characteristics of folk culture at that time. In the works, the contradiction and struggle of folk life runs through the whole process of plot beginning, development and climax, and the entanglement between characters and customs is regarded as the main axis of contradiction and conflict development and communication. This kind of plot structure is novel, unique and profound, which can show the contradictions and conflicts between people more deeply, not personal grudges and personality contrast, but has profound social life implications, which is closer to life and therefore more real.

First, the first step: meet.

Most of the stories of the four major love dramas began in spring, and the hero and heroine fell in love at first sight. "Spring" is the main image of description. The formation of spring associative meaning contains profound cultural connotation and has a specific historical and cultural background. Spring, called "Qingyang" in ancient times, also known as "occurrence", is the season when everything grows. "Literature and Art Collection" Volume III quotes "Corpse" saying: "Spring moves. Birds and beasts are pregnant, flowers and flowers are Watson, and everything is salty. " It can be seen that spring contains the meaning of reproduction. People hold sacrificial activities in this season, the most important of which is related to reproduction, which is a prominent symbol of primitive religion and civilization. The ancients believed that spring was the season of revival of all things, including the reproduction of human beings. The importance attached by ancient customs to the image of spring is reflected in many places in the Book of Songs. For example, in Feng Wei, there are eight poems about mid-spring marriage and love activities such as "going to Chicken Street" on March 3. With the passage of time, various folk activities related to spring certainly exist, but their actual content and nature have changed greatly. During the Western Zhou Dynasty, spring outing became a good opportunity for young men and women to pursue love, and the time for spring outing was also fixed. At this time, with the change of the content and nature of this custom, the color of "sex" in the custom weakened and the component of "love" increased. After that, it was fixed on March 3 every year, and the color of pursuing love was stifled by the increasingly popular feudal ethics, so the name of this custom gradually became outing, spring outing and so on. Thus, the relationship between man and nature has changed from the original relationship between men and women to the relationship between man and nature, which not only completely stifles love, but also makes the cultural connotation of this custom an appreciation of the infinite spring of nature.

The folk custom of spring has changed in the inheritance, but obvious traces can still be seen in the four major love dramas. Cui Yingying, Li Qianjin, Wang Ruilan and Zhang Qiannv, the four heroines in the four major love dramas in Yuan Dynasty, are all famous families. They live in seclusion, see no evil, don't listen to evil, don't move until evil. However, under the inspiration of spring, they were puzzled and moved by love and were deeply dissatisfied with the constraints of ethics. Bai Pu's "Climbing the Wall Right away" is the first time, and Li Qianjin wrote "Thinking Festival", which is full of longing for spring and awakening to youth. [Hunlongjiang] "If I can still get a romantic son-in-law, how can I teach you to learn to draw a long eyebrow tirelessly? It is better to teach the silver cylinder to shine high, the brocade curtain to hang low, the lotus flowers to live together, and the phoenix tree branches to hide the phoenix habitat. This is a beautiful night, this is a moment of spring night. Who cares if my single pillow is longer, then this half bed is called a mandarin duck quilt. Wandering men travel to his county, and women in the pavilion complain about their boudoir. " 【 Gourd 】 "Why am I thin? The spring breeze is back. Never got sick again. Welcome the new year and loosen your old clothes. " People languish for love. [Article] In the article, "Elms scatter green money, plums store mung bean fertilizer." Take advantage of the butterfly team in the gentle wind, play with dragonflies in the rainy weather and sleep on the warm beach. Falling red treads on horseshoe dust, and residual flowers make honey. "This seems to be a scene, but it was actually written under the inspiration of spring, the awakening of youth and the germination of natural lust. Affirm people's natural lust. Wang Shifu's The West Chamber is the first of the two books [Bashengganzhou, Lu Xian]. It's already very frustrating. That was worth last spring. Luo Yi is wide and faded. How many dusk does it take? The wind can't move the shutters. Rain hits pear and closes the door. Silent and exhausted. The eyes are broken. [Mixed Jiang Long] Fall red and form an array. There is a worrying wind everywhere. Dreaming in the pond. Say goodbye to spring. The flying snowflake gently stroked the butterfly. The smell of Yan Ni makes the dust fall. It's spring, sunny, short and long. People are far apart. " Their spring thoughts and worries are due to the germination of Chun Qing, and their spring hatred is due to the shackles of ethics. In real life, they can't find love freely, and their youth is as fleeting as spring and March. Therefore, they were injured in the spring. Cui Yingying's poem "Gui Lan has been lonely for a long time, which has nothing to do with her spring. If she is expected to sing, she should pity others. " This poem reflects her sadness and loneliness when she was young.

The four major love dramas were written during the adventures of the hero and heroine in the spring, based on the legendary stories of folk literature and art, and then integrated into the author's imagination and creation, and described in Wuling fairyland style. In this kind of folk stories, scholars attach great importance to the concept of "motif". The so-called "motif" refers to the smallest plot element that constitutes the language folklore of folk narrative literature. This basic element called "motif" has a distinctive feature, that is, it can be separated from one story of folk literature and combined into another story, thus deriving many stories. During the Six Dynasties, the story of fairyland meeting immortals was widely circulated among the people. For example, in Tao Qian's Epilogue of Searching for God, Yuan Xiang and Gen Shuo of Jiji County met two fairies in a deep mountain cave. The story of Wulingyuan is also recorded in Youming Road. Liu Chen and Ruan Zhao, two people from Shan County in Han Dynasty, met two fairies in Tiantai Mountain. They were so happy that they forgot to return. These stories are related to people's belief in immortals. In the hands of literati, it is interpreted as a scene of love at first sight and a good night. Wang Shifu's "The West Chamber" wrote that Zhang Sheng and a Cui Yingying got on the horse and became arrogant when they were on an adventure in a Buddhist temple. It began to blow 500 years ago. "Cui Yingying is" only smiling at flowers ". Zhang sheng "this is a pocket palace, so don't guess that you hate heaven." "Ah. Who wants to meet a fairy in the temple? " [Earning Evil Spirit] "Hungry eyes must be worn, and my mouth is empty, and my bone marrow is lovesick. How can I wink when I leave?" Spring is just around the corner, but jade people can't see it. A Vatican Palace is suspected to be Wulingyuan. " The Romance of the West Chamber originated from the legendary Yingying Biography of Yuan Zhen in Tang Dynasty. Biography of Yingying is also called Hui Zhen Ji. The "truth" of "meeting the truth" is what Chen Yinque considered when reading the biography of Yingying. "Truth is synonymous with fairy tales, and' meeting the truth' is also called meeting immortals or wandering immortals." Therefore, Yingying's story is not an ordinary love story, but a fairyland story of meeting a fairyland beauty. Bai Pu's On the Wall wrote that Pei Shaojun, who was riding a horse, saw Li Qianjin outside the garden: "Look at his fog and clouds. Jade bone ice muscle. Bloom smiled. The stars turn to each other. I only doubt the fairy in the cave. This is not a fascinating world. " Li Qianjin saw Pei's lyrics [backyard flower] on the wall. "To have a rest is to look up at the stars. I can't wait to lean on the fragrant cheek. Then Kim's face turned red. Luo skirt made a mat, laughed and boldly expressed love and desire. Pei Shaojun sent Li Qianjin a poem, "I only doubt my trip to Wuling." Peach blossoms shame the shore. Liu Lang's intestines are broken at hand. Who is leaning against the wall with a smile? "Li Qianjin and Pei boldly dated: [Zheng Sha]" told the guest Liu Lang that although there was no hemp, it was straighter than the rooftop. Don't be late. Waiting for the stars to move. Don't let the Ling Bo socks printed with moss get wet, so as not to trap the lakes and mountains and close the corner. This back garden is entitled to Wuling Creek. "It can be seen that the author created it on the basis of not leaving the folk prototype story. Fairyland story, through the artistic creation of literati, has evolved into the daily life story of their marriage.

Second, the second step: ban

The four major love dramas are all about men and women's love being blocked after a beautiful encounter. "Wall" is the main image of description. From a cultural point of view, there should be profound primitive cultural reasons for human beings to create images without making a sound. The foundation of image creation lies in its analogy and symbolic connection with what people want to say after expressing their feelings. In the Book of Songs, the love between men and women, which is difficult to be restricted in real life, is integrated into the description of the cultural image of water. "First of all, water limits casual contact between the opposite sex. At this point, it obeyed the needs and purposes of the ceremony, so it gained the same symbolic meaning as the ceremony. Secondly, because of the taboo effect of water, it also makes water a place where people place their mutual admiration. " This poem describes the difficult process of love between men and women with the image of being blocked by the river, and then sets off the desolation of autumn. Create a confusing, sad and sentimental artistic realm. In that elusive picture, there are endless and unspeakable China cultural feelings. If the water barrier symbolizes natural or man-made obstacles. The barrier of "wall" completely symbolizes the artificial barrier. The ethics and hierarchy of architecture in China are obvious. The settlement has a central axis, and the ancestral house, the father house and the son house are arranged in turn, and the pecking order is respected. The concealment and introversion of China's architecture are also outstanding. Most of them are composed of several single buildings, which are connected by cloisters and surrounded by walls. Houses have walls, temples have walls, gardens have walls and cities have walls. The fence is the main landscape of China architecture. There are walls everywhere, and people outside the walls can't know the people and things inside. Only when an apricot goes out of the wall can outsiders share the spring scenery in the wall.

The formation, development and continuous strengthening of China's ancient ethical thought, patriarchal clan system and a set of universal ethical order is a historical existence. Before "ceremony" became "teaching", it was obviously understandable. This is a natural concept in the process of human civilization. Freud believed that the history of mankind is the history of repression, and culture (civilization) not only suppresses human social survival, but also suppresses human biological survival; Not only the general aspects of human beings are suppressed, but also the instinctive structure of human beings. But there is no way. Repression is precisely the premise of the progress of human civilization. Humans need rules. In real life, human beings have created folk customs. Folk customs have great control and binding force. This is also an important feature of folk customs. There are roughly two ways to control folklore: one way is that folklore itself has formulated a set of strict norms, which should be unconditionally observed by its public groups, and any deviant behavior will be severely punished by folklore norms; Another way is that individuals in the mass group naturally form a habit in the process of their customs. Once individuals in these folk circles violate folk norms, they will have great psychological pressure. If the control and constraint of the former is called the hardware of folk custom control, the latter can be regarded as the software of folk custom control. The control function of folklore is not only manifested in the control of power, but also comes from the self-control derived from the customary power of folklore itself. In feudal society, an important aspect of the supervision function of families and clans was to set up a "great defense" of "men and women giving and receiving without being close to each other". Before the Yuan Dynasty, Neo-Confucianism strictly controlled people's thoughts and advocated "preserving justice and destroying human desires". Get rid of people's material desires, lust and all other desires. Marriage between men and women does not consider the feelings of both men and women, but "the life of parents, the words of a matchmaker." What is considered is the interests of the family and the appropriate collocation. Arranged marriage makes young men and women lose their autonomy in marriage. In the history of cultural criticism, walls often represent estrangement, conservatism and closure. The fence symbolizes the gap between people, control, boundaries and prevention. The "wall" in the four love dramas of Yuan Zaju is a folk image, a "wall" between emotion and reason, and a "wall" separating the love between men and women. This is an insurmountable obstacle for young men and women. The ladies living in the deep house compound are deeply bound by ethics. Cui Yingying's residence is "a deep courtyard covered with pear blossoms in front of the door, with white walls as high as the sky". Cui Yingying cannot move freely. "The old lady is tight, and Xiao Xiangmei is diligent." Xiao Xiangmei is the servant of the old lady, and more importantly, the supervisor. Things around Li Qianjin also have the same effect. In ancient times, a good family was often supported by Mo Yao and the maid, and at the same time it played the role of "guarding the line", that is, it was afraid that "the maiden would lose her identity" and cross the boundaries of feudal ethics. When Zhang Qiannv saw Wang Wenju, [Lu Xian. Shang Huashi] "He's Xiao Lang in a hat and a light shirt, and I'm the beautiful mother who embroidered beryllium cars. Exactly the same look. My mother built a windshield on the balcony road. " The grassland culture of the Yuan Dynasty impacted the culture of the Central Plains, resulting in the so-called "lax discipline and declining social atmosphere". Hu Feng and Hu Custom also blew the cool breeze in the northern desert to the rigorous ethics hall, loosening the solidified cultural tradition of the Han nationality. So there is a social atmosphere different from the previous generation. The greater the force, the greater the reaction. The stricter our legitimate passion for young men and women, the more enthusiastic they are about their own desires. This also reveals the concept of love desire of young men and women in Yuan Dynasty and their value orientation in the conflict between love desire and civilization. In On Love, Stendhal brilliantly pointed out a phenomenon worthy of people's recollection: "In Europe, people's desires are stimulated by constraints; In America, it is weakened by freedom. " Some constraints are obviously necessary; If all the constraints are lifted, the result will come easily and go quickly. Li Qianjin, the second compromise work of Bai Pu's "The Wall Fall and Everyone Stand Up", sighed: "When you leave your soul and go with your dreams, when will something good come to you?" Good things are always hard to do. In Zheng Guangzu's Ghost Story, Zhang Qiannv resents her mother's blocking, and Yao "wants to block Wushan's gentle and graceful mother. The widowed woman was injured alone. There is no dispute with "black heart". I don't want you to be informal. The more you prevaricate, the more you think about it. " In the conflict between emotion and reason, they finally crossed the wall. Become a rebel of feudal ethics. The Romance of the West Chamber Cui Yingying's Waiting for the Romance of the West Chamber actively combined with Zhang Sheng privately. On the wall at once, Li Qianjin's Private Meeting under the Moon eloped with Pei. Wang Ruilan and Jiang Shilong were married privately in the hotel. "Away from the Soul" Zhang Qian's lovesickness became a disease, and the soul chased Wang Wenju. It's "I don't know what I'm doing, but I'm getting deeper." However, feudal ethics is still strong. It is difficult to break through this wall. In the West Chamber, when the old lady learned about this, she "copied the red" and forced Zhang Sheng to go to Beijing to take the exam, saying, "Come and see me when you get an official." After Li Qianjin eloped with Pei, he hid her in the study in the back garden of the mansion and gave birth to a son and a daughter in seven years. By chance, Shao Jun's father found out and tried every means to force Li Qianjin to leave. The author developed Bai Juyi's two poems, "Grinding a jade hairpin on a stone" and "Painting a silver vase at the bottom of a well", into two details of Pei Shangshu's persecution of Li Qianjin, vividly exposing the hypocritical faces of feudal parents who were arrogant and pretended to be forbearing. Wang Ruilan and Jiang Shilong got married in the hotel, and Jiang Shilong was ill. When Wang Ruilan's father Wang Zhen passed by, he forced the couple to break up. Zhang Qian's mother sent Wang Wenju to the capital to accept the job. After Wang Wenju left, Zhang Qiannv was very ill. Feudal marriage should follow "parents' orders and matchmakers' words." "If you are hired, you will be a wife and a concubine." "Running" is against feudal morality. Feudal parents did not consider the feelings of men and women, but the interests, family status and property of the family. Therefore, the love between young men and women will inevitably be blocked. In the era when arranged marriages prevailed, the young men and women in the four major love dramas broke through the strict "fence" of ethical codes, rebelled against "the orders of parents and the words of matchmakers", and strived for freedom of love and marriage autonomy, which not only showed the inconsistency between the ethical norms of folk customs and personal pursuits, but also showed that some "deviant" phenomena in folk customs could gain the sympathy and recognition of the people.

Part III: Flying separately

The four major love dramas are all about men and women who have paid a hard price after breaking the ethical "wall". Their love is blocked, far apart, and they are suffering from waiting and parting. In the play, there is a lover's heavy acacia, turning around and praying for a beautiful love and an ideal marriage. The moon has a special meaning in the minds of China people. Beautiful and moving myths and legends such as the Goddess Chang'e flying to the moon, Wu Gang, the toad and the Jade Rabbit painted the moon with unparalleled beauty. Many cultural words with rich meanings have been produced. For example: Guanghan, Moon, Kwai Lun Mei, Chanjuan, Jinjing, Su E, tapiscia sinensis, etc. But the association of "month" is relatively negative. Chang 'e stole Houyi's fairy medicine from heaven, which is a well-known fairy tale. However, since she became a fairy in the Moon Palace, she has been isolated from the world with coldness, loneliness, desolation and loneliness. "Chang 'e should regret stealing the elixir, and the sky is high and the night is light. "In the eyes of the ancients," the moon "is inextricably linked with sadness and loneliness:" Acacia is even more leaking at night, worrying about the moon leaning against the railing. "Seeing the suffering of lovesickness in the moon, homesickness is always related to parting. The moon's profit and loss will also remind people of the joys and sorrows of the world. The moon also has a positive symbol. After all, it has a "full moon". There is also a symbol of reunion and happiness. There is also a matchmaker in the marriage between men and women, and that is "Yue Lao". In Tang's Secret Record of the Wedding Shop, it is said that there was an old man looking up books under the moon with a cloth bag beside him. Ask him what book to read, saying it is a marriage book on earth; Ask him what's in his bag and tell him it's a red rope. " These are husband and wife's feet. Although it is the home of the enemy, it is poor and separated, and the world is from the official. In a foreign land in Wu Chu, this rope is tied and cannot be broken. The saying that "the old man plays the strings" comes from this. In ancient China, Yue Bai had the custom of praying for reunion. Especially on Women's Day in ancient China, with the legend that the Cowherd and the Weaver Girl met on the bridge on the seventh day of the seventh lunar month, women enjoyed fragrant fruits under the full moon and prayed for good wishes. On that day, Emperor Xuanzong of the Tang Dynasty and Yang Guifei prayed for a happy and long-lasting love, and swore to each other: "On the seventh day of July, in the Palace of Immortality, we secretly told each other in the silent midnight world that we wanted to fly in the sky, and two birds became one, growing on the ground, and two branches of a tree ..." The popularity of the story of the Cowherd and the Weaver Girl was originally a microcosm of the economic life of small farmers in ancient China. In the story of sympathy for cowherd and weaver girl's not free marriage, working people vent their sexual anguish and pursuit of ideal marriage.

In the four major love dramas, the folk image of "moon" is used to set off the atmosphere and render the environment. Use the waning moon, the missing moon and the slanting moon to show the imperfection of life, and hope that the full moon will have a good folk mentality structure to show the folk conflicts of the characters' hearts. There are various forms of civil conflicts, including plot stories extracted from the contradictions and struggles in the visible state of life, and internal waves displayed by the invisible mind. The dilution of the overall plot can't hide the essence of the conflict between the mind and the folk customs. "Moon" is the main descriptive image. Wang Ruilan asked Xiang Mei to arrange a table for Yue Bai, singing: [Read with her] "You lean against the railing and face the terrace. I'm going to be famous for my fragrance. Who can say if you have a long brain? Except burning dragons and musk deer to Jinding. It is no different from paying homage to Tian Yue. " Wang Ruilan burned incense and prayed: [If a scholar] "God. This column of incense would like to reduce my respect for your majesty. This incense stick is to be taught by the person who throws it away. Father and mother will not compromise. Unlike me, the car covers up the shortcomings. " Wang Ruilan and Yue Bai made a wish: "May lovers in the world never part. Teach me to get together early. " "The West Chamber" Cui Yingying burned incense in the back garden and prayed, "This column is fragrant. May the immortal be shut out. Born in the early days of heaven. This column is fragrant. May the old mother in the hall be safe. This incense stick ... [Don't say anything] The matchmaker hit the nail on the head: "I hope my sister finds a brother-in-law. "Their third fragrance is to pray for a happy marriage, love and happiness. The Romance of the West Chamber describes the moon in many places: the title is Cui Yingying's Romance of the Moon, Zhang Sheng's and Cui Yingying's poems under the moon, listening to the piano under the moon, and the date of the Romance of the Moon. Zhang Sheng called Cui Yingying "the man on the moon". Cui Yingying compared himself to Chang 'e. After Zhang Sheng and Cui Yingying broke up, they were: The Wind Blows the Broken Moon, The Moon in the West Chamber, Clouds Covering the Moon, and Full Moon Lights. When Pei Shangshu forced Li Qianjin, Li Qianjin sighed, "The hardest thing in life is to leave. Fang Quhua is full of wind screens and the moon is full of clouds. "From the soul of a thousand women, Zhang Qiannv is lovesick, and the soul comes out of its shell to chase Wang Sheng. The beauty of moonlight is integrated with romantic feelings. [Fighting Quail] "I am here to step on the beach and the moon; I only looked at this Qianshan for a while. [Funny] "Looking at the river and painting at night, playing with the sky curling up and down, like jade. "Water, light and moonlight complement each other and paint a moonlit picture. The four major love dramas use the image of "moon" to express heavy lovesickness. On the balance of love and fame, women value the companionship between husband and wife, rather than "a hollow horn that is not worthy of the name and has meager profits." "The so-called fame and fortune. We can see the change of people's value orientation at that time and the challenge to traditional customs. Milan Kundera wrote in the first section of Unbearable Lightness in Life, Lightness and Weight, that the heaviest burden crushed us, sank us and nailed us to the ground. However, in the love poems of every era, women always yearn for being under men. Perhaps the heaviest burden is also a symbol of the most fulfilling life. The heavier the burden, the closer our life is to the earth, and the closer we are to truth and reality. On the contrary, there is no burden at all, and people become lighter than the atmosphere, fly very high, and leave the earth, that is, leave real life. He will become unreal, free and meaningless. The four plays show that lovers are lonely, lonely, haggard, tired of love and suffering for love. Once again, once the individuals in these folk circles violate folk ethics, they will have great psychological pressure.

Part IV: Reunion

The endings of the four major love dramas are all "harmony". "Being the first" and "Wedding Candle" were regarded as two great happy events in life by the ancients. The legendary story of Zhuo Wenjun eloping with Sima Xiangru is adopted in the four major love dramas to show the realization of these two happy events. Zhuo Wenjun was moved by Sima Xiangru's song "Phoenix Begging for Phoenix". They were lovers, and Zhuo Wenjun and Sima Xiangru eloped in a seven-fragrant car. After that, Zhuo Wenjun lived in Lin Qiong and bought wine. According to Chang Qi's Records of Huayang Country. "Shu Zhi" records that there is a sage bridge in the north of Shu County to send objectivity. Sima Xiangru left his hometown and went to Chang 'an to ask an official to cross the bridge. On the bridge, he wrote: "Don't take the red car to prepare the horse, you can get off." This legend is also found in Chengdu Ji. Later, Sima Xiangru became an official, and his literary talent was handed down from generation to generation. This is a typical example of happiness, love and success. The heroines in the four major love dramas compare themselves to the poems written by Jun, while the heroines compare themselves to Sima Xiangru's literary talent. In Romance of the West Chamber, Zhang Sheng said, "Although not as good as it is, I think the young lady is quite handsome." After Li Qianjin and Pei were separated in Climbing the Wall at once, Li Qianjin wrote in "Yuanyang Evil Ghost": "Don't make a bitter knot like a broken flower, I will have boys and girls with you." Looking forward to living is the same, and death is the point. Sing the title of the column and make a festival. "It says here that Pei's mind is the same as that of Zhuo Wenjun's. When Li Qianjin and Pei met again, they argued with Pei Shangshu: "Tell dad that you listen to the defense, not that the scandal in my family will become a metaphor of the past. There is only one great king and grandson. The beauty of Zhuo Wenjun is incomparable. It is also a blessing to eavesdrop for a while in my last life and want to burn songs. I will take a Hummer in the future. How can you drive me to the wall at once, but lose selling wine? "After Zhang Qiannv's soul caught up with Wang Wenju: [Ending]" The thorns on Chang' an Road are full of thorns, and I hope that Wenyuan's guests will be hard at that time; Then I, a liquor seller in Zhuo Wenjun and Lin Qiong, would like to help you at Jinjiang Bridge. "

From the perspective of folk culture, China's family has a strong and almost eternal concept of "harmony", from which a series of folk customs are deduced. For example, in interpersonal relationships, "harmony is the most important" to live in harmony within the family, while in the family, the husband and wife are required to "live in harmony for a hundred years" and "grow old together". -Not only does the concept of "harmony" exist in the deep consciousness of China people, but it also creates many symbols of "harmony". For example, boxes and lotus flowers represent "harmony". XiShen, who was in charge of marriage, was dubbed "He Shen" by the people. Harmonious family consciousness shows that China society pays attention to the standardization and order of interpersonal relationships. In Confucianism's view, the highest purpose of etiquette is "to be neutral" and "harmony is precious". Therefore, it is an ideal country in the psychological structure of Confucian culture, harmonious, balanced and stable. The pursuit of stability, harmony and balance has become a special demand of China's folk cultural psychology, thus highlighting the characteristics of national psychology. In interpersonal relationships, people try to avoid contradictions and entanglements. The best way to deal with contradictions is to "let nature take its course" and compromise. Harmony is guided by the theme: the protagonist finally becomes famous like Sima Xiangru; The heroine is a crowned corolla. Love in the city, parents are satisfied. In "The West Chamber", Zhang Sheng said: "Today, I have three professional posts, but yesterday I was still a cold Confucian ... I have invited Wuhuaguan to write seven fragrant cars, and I never forget to borrow a monk's residence, but I am still worried about poetry." [Selling wine] "The door is facing the Hummer, and there are eight Chili maps listed in each household. Four virtues and three obedience are prime ministers. I am willing to enrich my life. " "Go to the wall at once" [Javert] Today, five flowers will say, seven cars will accept it, and I hope that the marriage in the world will get together as soon as possible. Long live the wise monarch today. Yun Chang said, "After a woman's soul is one, there are so many different things in the world. Today is a good day." . When you marry your wife, the young lady will be made a princess by imperial decree. While killing sheep to make wine, we put on a celebration feast. "

Family harmony, human harmony, heaven and earth harmony: "The West Chamber" [gold] "All the seas are safe, and all the courtiers are also. The country comes to Korea, long live the mountain, and walks in Maiyixuan, leading the virtue of obedience and jade. God's policy, benevolence and righteousness, the prime minister is virtuous, the common people in the world are rich, the mountains and rivers in Wan Li are clear, the crops are abundant, and every household lives in peace, which is a paradise everywhere. When the phoenix comes to the instrument, the Kirin comes out again and again. " 【 Qingjiang cited 】 "Young and old, no points, always get together. May all beings in the world become a family. " Marriage, love, filial piety and family reunion. Good weather, harmony between yin and yang, abundant crops, peaceful country and people, and everyone is happy. The plot finally ends in an atmosphere of harmony between home, people and heaven and earth.

From this point of view, the story "four steps" of the four major love dramas-the plot procedure of meeting, blocking, parting and reunion, embodies people's folk cultural characteristics. The whole plot is mixed with sadness and joy, which embodies the characteristics of China's plays. It also reflects China people's concept of "neutralization", that is, there is no absolute comedy or absolute tragedy. Some people think that the happy ending of traditional Chinese opera is also related to farming season. The so-called spring planting, summer hoeing, autumn harvest and winter storage have formed a cycle year after year, forming the psychological gene of "perfection" of China people. Another example is the first month, a series of festivals starting from the end of the twelfth lunar month. On the fifteenth day of the first month, there is the Lantern Festival, which always gives people a happy ending. Therefore, no matter how tortuous the story is, China's plays end in a happy ending.