A famous maxim about language or writing.

China's classical tragedies are generally mixed with sadness and joy, as Li Yu, a famous opera theorist in the Qing Dynasty, said: "When talking about bitterness and sadness, we should also suppress the sacredness as madness and cry for Xiao Yu." [6] The western concept of tragedy holds that: "If the poet aims at arousing terror and pity, and the behavior he describes is comic and tragic, then the former will please the audience and completely defeat his main intention. (7) "What is a script that begins with seriousness and ends with comity, or ends with ease and ends with tragedy? "Obviously, western tragedies do not advocate the intersection of sadness and joy.

China's tragedy is characterized by the intersection of sadness and joy. In fact, the blending and infiltration of two emotional colors is not limited to tragedy, but also exists in comedy. The difference is that tragedy adheres to the principle of giving priority to sadness and setting aside sadness with joy, while comedy adheres to the principle of giving priority to joy and setting off happiness with sadness. Therefore, when talking about the characteristics of China's tragedy, we can't regard the infiltration of two emotions, that is, the * * essence of the intersection of sadness and joy and the alternation of bitterness and joy, as the particularity of China's tragedy. Only like Li Yu, on the premise of emphasizing "the feeling of bitterness", put forward the idea of "restraining saints from being crazy and crying for Xiao Yu", which is the characteristic that China's tragedy is dominated by sadness and mixed with sadness and joy. This is Guan Hanqing's tragic style.

First, gag aggravates the tragic mood. For example, in the first episode of Dou E Yuan, Dr. Lulu said: "When practicing medicine, you should think carefully, and the medicine should be based on materia medica. The dead doctor is not alive, and the living doctor is dead. " The second time, Tao Ping made a joke: "I am better as an official than others, complaining about gold and silver;" If the boss is brushing the paper, he won't go out at home. Wang San, the third part of Butterfly Dream, heard that the punishment was "hanging a pot and throwing it over more than 30 high walls" and said to Zhang Qian, "Brother, be careful when you throw it at me, I have a boil on my stomach." Lian sang unexpectedly. These are obviously funny teasing episodes. Here, Guan Hanqing not only makes people laugh, but also points out the cause of the tragedy or aggravates the tragic atmosphere. In the self-confession of Dr. Lulu and Mr. Tao Ping, the audience not only knew the essence of these characters, but also deepened their understanding of the social roots of Dou E's tragic fate. It's really "laughing for no reason, and I can't feel tears." "

Second, strengthen the tragic atmosphere with a festive atmosphere. This is a more tragic technique than gag in Guan Hanqing's Dream of West Shu. The author arranged the time for Zhang Fei and Guan Yu to return to Xishu to avenge Liu Bei's birthday on the Double Ninth Festival. I thought it was my brother's birthday when the three of them became sworn brothers in Taoyuan. We can "greet the dragon bed loudly" and have fun together. Seeing that people and ghosts are separated in front of us, we can't have fun together. We can only "bow in the dark, avoid seeing the king and walk backwards", which is really sad. Mr. Zheng Zhenduo thinks this way: "The Dream of Guanxi Shu describes the ghost of Zhang Fei, who came to the old imperial court, but wanted to go back and forth when talking to his eldest brother, but he was surprised to see that he was a strange ghost. It's really amazing ... and when he met Liu Bei and was ready to greet him with joy, he just avoided and wanted to move on. " The palace master greeted the dragon bed loudly, and the minister bowed to the lamp shadow. "Even readers should feel sorry for this situation. At that time, in the theater, I am afraid it is even more necessary to arouse silent crying. " The important reason why this kind of sad and sad effect is produced is that the author writes the sad reality with happiness as the background.

Third, deepen the tragic effect with the fun of reunion. This is another important means for Guan Hanqing to deal with the relationship between sadness and joy. Dou Eyuan is about ghosts struggling in the underworld and finally making a big wish. "Dream of West Shu" is about Zhang Guan's soul's desire for revenge in mourning. "Crying for Filial Piety" wrote that Mrs. Deng cried for filial piety and sacrificed filial piety; In Butterfly Dream, Wang and his mother look for Wang Sanzhi's body. When they cried bitterly, they found that the deceased was not Wang Sanzhi. Because the whole family was very wise, they were rewarded in the end. The endings of the four works, except Butterfly Dream, can deepen the tragic effect.

Guan Hanqing's A Flower Farewell to the Old has its own characteristics in language.

The biggest feature of this Sanqu is that it adds a large number of interlinings, and skillfully uses parallelism and string sentences, which has produced a dull artistic appeal. For example, the sentence "You just lost my tooth" in the [tail] song, a flowing set of lines naturally caused the rhythm of emotional agitation, which was rapid, rough and sonorous, and strongly expressed the poet's tenacious determination to "walk on the road of fireworks". The whole song goes straight down, but there are several twists and turns. The emotional meditation places such as "pause" and "everything rests" in Sanqu cards are often places where the writing style is ups and downs and the strength is dark. Reading it is like seeing the Three Gorges beating waves, and it has a magnificent and rhythmic aesthetic feeling.

The Artistic Features of Guan Hanqing's Moon Pavilion

The story of "Moon Pavilion" takes place in the background of "upside down, people are in dire straits". The protagonist's experience is quite tragic. Their beautiful sentiment and strong will are full of confidence and hope for life, which makes the works interwoven with tragic atmosphere and comedy, and lyric comedy is the keynote of the whole play. Misunderstandings in Walking in the Rain (also known as Grab an Umbrella and Step on an Umbrella), Marrying a Merchant and Yue Bai, a lady in seclusion, are full of humorous comedy sentiment, and Kunqu opera and high-pitched tune are still often performed today, which are deeply loved by the audience.

In the legend of the Moon Pavilion, the themes of love and ethics are combined. Wang Ruilan and Jiang Shilong got married in the war. They don't have parents' orders or matchmakers' words, so they are not suitable for each other. This was intolerable by the society at that time, so they were opposed by Wang Zhen. However, the work affirms the behavior of the young men and women, and accuses Wang Zhen of being ungrateful for "trying to break up the husband and wife by virtue of power". Through the conflict between characters, the absurdity of feudal ethics was exposed, and Wang Ruilan was praised for not forgetting the past and being loyal to love. The play also describes the beautiful feelings of people supporting each other in times of crisis from many aspects, such as the deep and happy friendship between Mrs. Wang and Jiang Ruilian, Wang Ruilan and Jiang Ruilian, and Jiang Shilong and Mantuo, and the images of simple and warm-hearted innkeeper Huang Gong and his wife are also quite touching. Since the Jin and Yuan Dynasties, wars have been frequent, and the people have suffered from the pain of being displaced and separated, and they have increasingly felt the value of loyal love and pure friendship.

In terms of image-building, it reveals the simple wishes and demands of ancient people. Wang Ruilan's artistic image has entrusted the playwright's ideal, which is real and touching. She was born in Shangshufu, and the war suddenly pushed her out of a comfortable family. She was helped and protected by Jiang Shilong in despair, and she was deeply grateful and loved. But after all, she is a noble family, deeply bound by feudal education, etiquette and honor concept, which has caused inner contradictions. An important development of her character is her resistance to Wang Zhen's atrocities that destroyed their marriage.

The harsh reality prompted her to break away from feudal ethics. The works in the second half show Wang Ruilan's persistent yearning for Jiang Shilong, his dissatisfaction with his father, and his deep pity for her righteous sister, Ruilian, whose fate is similar to her own. She is a beautiful and kind female image in the gallery of traditional Chinese opera characters.