Abstract
The title "the Four Dream of Linchuan" is not in accordance with the facts of the four Chuanqi plays written by Tang Xianzu, for "The Purple Hairpin", one of the "four dreams" has little to do with "dream" of any kind. Inspired by "the Four Dreams" written by Che Renyuan and the folk song "4 dreams 8 voids" in The Plum in the Golden Vase, Tang Xianzu himself began to use the title of "the Four Dreams of Linchuan". The title was rarely recognized till the late Ming Dynasty, but it became popular during the reign of Emperor Kangxi of the Qing Dynasty. Both "the Four Dreams" by Che Renyuan and "4 dreams 8 voids" in The Plum in the Golden Vase strongly show the void of the world of senses on the philosophical level, as is manifested in the Chuanqi works of Tang Xianzu in his old age as well. However, the similar thoughts and feelings do not appear clearly in the play The Peony Pavilion, the primary aim which is not to eulogize love, but to praise the natural instinct of human beings and the freedom to give vent to them. In this play, the gap between the dreams and the realities, the words "The ghosts can express their affections directly, but human beings have to follow social etiquettes" Du Liniang said show the author's discontent with the reality and the start of his meditative mind. Tang's writing influenced later works such as The Palace of Eternal Life and A Dream of Red Mansions in a detestable way.
First Page
53
Last Page
65
Recommended Citation
Kang, Baocheng, and Yanfang Chen. 2017. "The Origin of the Title "the Four Dreams of Linchuan" and the Deep Significance of The Peony Pavilion." Theoretical Studies in Literature and Art 37, (3): pp.53-65. https://tsla.researchcommons.org/journal/vol37/iss3/17
