I happened to break half a weeping willow in the garden. Sister, since you know books like the back of your hand, can you write a poem to appreciate this willow tree? "Li Niang didn't answer, just thinking," I have never seen you before. Why are you here? Xiao Sheng smiled and sang, "For you, it is as beautiful as a flower and has flowed like water for many years. Yes, I'm looking around. You feel sorry for yourself. " She took Li Niang's sleeve and turned to talk at the lake rock in front of the Peony Pavilion.
How did Li Canniang meet someone she had never met in her dream? Li Niang, who was banned from bronze by feudal ethics, had no confidence in her. Her closest mother, watching her take a nap, also said that it was not in line with her family education and did not agree with her embroidery of Yuanyang.
Li Niang is really lonely, longing for someone to care about her and sympathize with her. It was shocking when the dreamer said the words "like water passing by, like flowers and jade". How can she not be a bosom friend? It is not common sense to ask questions with willow branches. He is not a gem, but a worthless weeping willow branch.
There is a "photo" depicting Du Liniang as a self-portrait, which shows that she has a high artistic accomplishment. In her eyes, artistic value is not equal to practical value and economic value. Every grass and tree can be painted, and gold and silver jewelry, black gauze and jade belt are disdainful. At this point, they have the same language. In Li Niang's view, spiritual communication is the most important thing. It is happy to be with this person. With a slight pull, she left with him.
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The ultimate theme of the novel Dream in the Garden-Life is like a dream
In this novel, the author has painstakingly shaped the image of "dream". Dreams are very similar to fairyland, with only one big difference: fairyland is eternal and dreams are short-lived. Humans are often unwilling to face the sad fact that life is limited and things are impermanent, but hide in the illusion of self-deception that everything is the same. However, as the saying goes, all good things must come to an end.
Tonight, Mrs. Dou's mansion, brightly lit from top to bottom, seems to be on fire, and it will be extinguished in a blink of an eye and burned to ashes. Qian Furen tonight is Mrs. Dou tomorrow.
Lantian jade, the hero of the novel, jumped from a Kunqu artist to the wife of General Qian, and was once in her prime. "Nine times out of ten, she took the lead between banquets." However, all this is "the past time of Qian Pengzhi". Now she is only an orphan, and the swallow in front of Wang Xietang has fallen into others.
There is an annoying contrast between peace and decline. For the decline, it is a helpless reality, and Qian Furen is powerless to change it, so only nostalgia and nostalgia are left, and it is impossible to get rid of it, and all this is regarded as a floating cloud. Most of the cars in front of Dou Mansion are public black cars. Qian Furen took a taxi to the door, and she ordered the driver to stop.
This meticulous action shows that Qian Furen still cares about face and hides the reality of his decline. During the dinner, Qian Furen consciously or unconsciously recalled his heyday several times, and compared it with the actual banquet, which reflected Qian Furen's nostalgia for the past.
The author's memory of his past life is more about his emotional attachment to his old country. Here, the motherland is not only the mainland and homeland of the motherland, but also an emotion, a psychological sense of identity and belonging to the old times. The motherland is more of a kind of psychological emotion, and the mainland and homeland of the motherland are only the carriers of this emotion. This feeling is expressed in the form of homesickness.
For example, Qian Furen always thinks that "the materials in Taiwan Province Province are rough and shiny, especially silk. Where can it be as delicate and soft as mainland goods? " "The carved flowers in Taiwan Province Province are not as mellow as those in the mainland. After all, drinking them will cut your throat. " This sense of disapproval of Taiwan Province Province is not only because of Qian Furen himself, but also because of the general psychological mood of the failed people in Taiwan Province Province.
For example, after coming to Taiwan for decades, Dou Fu still used the Shanghai cook as a guest, and Liu's adjutant still stubbornly spoke with the northern Jiangsu accent. These are the overall manifestations of homesickness of people who have been abroad. They have no sense of identity and belonging to the present situation of Taiwan Province Province and Taiwan Province Province, but they stubbornly cling to their past lives (such as song clubs) and stubbornly cling to the mainland.
In Bai Xianyong's view, these people are "wandering China people". They retired from the mainland, but they were unable to integrate and belong to Taiwan Province Province. They don't have their own home, and they are in a state of drifting with the flow psychologically and emotionally, so they have a strong attachment to the motherland. Bai Xianyong has a deep sense of identity with China's traditional culture, and it is also symbolic to choose a gathering of Kunqu opera fans in the novel A Dream in the Garden.
In 1960s, Kunqu Opera, as "the most exquisite and perfect form of China's performing arts", also declined and was strongly impacted by emerging cultures such as European and American films. In the novel, those who insist on loving and recalling the traditional art of Kunqu Opera are all adherents who failed from the mainland, such as Qian Furen, Mrs. Dou and Yu. They are both adherents of politics and traditional culture.
The natives of Taiwan Province Province are divorced from the mother of mainland local culture, and they don't appreciate these traditional cultures much, so they don't have much attachment. As a reality, the cultural adherents can't change, so we have to admit that the persistence and love for Kunqu Opera is only the nostalgia for the old culture and the expression of the author's cultural nostalgia.
Our traditional culture in China has a glorious past. However, because they pay too much attention to pure beauty and pure spirit and refuse to accept the pollution of the real world, they are almost completely divorced from the lives of ordinary people in today's civilian world and can no longer be appreciated and understood.
So everyone abandoned the ancient and beautiful China culture and rushed to meet the emerging and popular western culture, just as the popular Flower Department finally replaced the beautiful Ya Bu Kunqu opera in the Qing Dynasty. In this way, Qian Furen's feelings about the past and the past, as well as his mourning for the past, have a deeper meaning, and "Dream in the Garden" has become an elegy for our 5,000-year-old traditional culture.
In this way, the novel Dream in the Garden has expanded from the vicissitudes of Qian Furen's personal life to the vicissitudes of China's traditional culture, especially the aristocratic culture.
The same moral can also be extended to the problem of social types, that is, it implies the decline of aristocratic class and agricultural society, and the rise of civilian class and industrial society. At the end of the novel, Mrs. Dou asked Qian Furen, "You haven't come for so long, have you found that Taipei has changed?" Qian Furen hesitated for a long time, then turned his head and replied, "It's more troublesome." When she reached the door, she added softly, "I hardly know it-many new high-rise buildings have been built."
The word "change" is the central theme of this novel. "Many new high-rise buildings have been built" is a metaphor for the rise of industrial and commercial society. We also noticed that the rising star who sang "Garden" at the banquet today was Mrs. Xu, not Mrs. Xu. The author implies that although the "upper class" still exists, the "aristocratic class" has disappeared without a trace.
References:
Peony Pavilion, Dream-Baidu Encyclopedia