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"A Handful of Snow" is another work directly attacking the treacherous court official Yan Shifan of the Ming Dynasty after "Ming Feng Ji", which has always been popular and still exists today. "A handful of snow" is the name of a jade cup. In order to snatch it, Yan Shifan first asked the original owner Mo Huaigu for it, but failed, he wanted to kill Mo Huaigu. Mo Huaigu's servant Mo Cheng was willing to take the place of the owner and die, and exchanged his own life for Mo's escape; Yan Shifan's attendant Tang Qin discovers that the deceased is not Mo Huaigu and is waiting to be investigated. One of Mo Huaigu's beautiful concubines, Xueyan, is willing to marry Tang Qin. On the wedding night, she assassinates Tang Qin and commits suicide. Although Yan Shifan's power collapsed in the end and Mo Huaigu's family recovered, he lost two lives loyal to Mo's family just for a jade cup. The death of the concubine Xueyan was caused by self-defense, which was inevitable, while the death of the servant Mo Cheng had a pitiful blindness, which was praised excessively in a Handful of Snow, which advocated a kind of "righteous servant spirit" from the feudal concept of powerful families, with negative ideological significance, and was hated by all people with democratic ideas. However, after all, all these are generally combined to form a strong struggle against the dark politics of the Ming Dynasty represented by Yan Shifan and Tang Qin, which is the dominant aspect of the play, but in the aesthetic effect, the spirit of righteous servants is often more prominent. A Handful of Snow is such a complex work, which not only expresses the anger against the dark forces,Uv Gel Nail Polish Bottle, but also expresses the enthusiasm for the feudal concept. In fact, this is a three-dimensional reflection of the psychological structure of a large number of "good people" in feudal society. It was their anger at Yan Shifan and others who brought disaster to the country and the people that made the Chinese feudal society remain upright and restrained the absurdity and cruelty of this decadent society; At the same time, it was their enthusiasm for feudal hierarchy, powerful families and the concept of master and slave that made the basic order of Chinese feudal society not fundamentally changed despite the elimination of numerous treacherous court officials and corrupt officials. Li Yu, of course, will not understand: In the final analysis, Mo Cheng's spirit of unconditionally dying for Mo Huaigu can correspond to Yan Shifan's idea of asking Mo Huaigu to unconditionally dedicate everything to his superiors. They differ in personal quality between good and evil, but they are in a state of isomorphism in the whole series of feudal concepts. The reason why many powerful heroes in Chinese drama culture have not played their due role in promoting the progress of history is,Blue Bottle Serum, to a large extent, that their strong resistance comes from the same ideological source that produces the dark forces. In contrast, those plays that show a greater divorce from feudal concepts, such as The Peony Pavilion, are indeed extraordinary. Because of the complex state of the ideological composition of "a Handful of Snow", it has brought great trouble to the dramatists who adapted and performed it for future generations. This play is so famous, so dramatic, and has a basic conflict against treacherous court officials, it is difficult not to enter the repertoire of future generations; but as long as history is advancing and the spirit of democracy does not disappear, the people can not fundamentally tolerate Mo Cheng's spirit of righteousness, and dramatists can not but adapt it. For example, when Mo Cheng died for his master, he thought it was a happy event, laughed three times, and said, "The crow has the meaning of feeding back, cosmetic packaging wholesale ,30ml Dropper Bottle, the sheep has the grace of kneeling milk, the horse has the power of crossing the river, and the dog has the heart of savior.". Even if the beast is like this, is the villain not as good as the beast? These words are really hard to listen to. It is not that Mo Cheng is hypocritical, but that here we clearly see another kind of darkness, a terrible darkness that has lasted for thousands of years in the realm of the soul. It was this darkness that made the struggle for property among the upper feudal bureaucrats bring disaster to a poor man of the lower class and make him sacrifice voluntarily. Perhaps this is the epitome of many political events in Chinese feudal society? Of course, the adaptors of later generations had to delete these passages, and some of them even went further, writing that Mo Cheng was reluctant to die, and even hated his master Mo Huaigu very much. This kind of adaptation, with good intentions, is mostly a failure in art, because it requires the input of a new theme for the script, but the structure of the original play guides the original theme, which produces a contradiction between the new theme and the original structure. If the basic structure of the play is rewritten according to the needs of the new theme, it will become another play, which can no longer be called "a handful of snow". It seems that there are only two ways out here. One is to take into account the main theme of the original play, further intensify the conflict between the Mo family and the Yan family, and try to reduce the color of blind loyalty. The other is to borrow the characters and stories of the original play and do the opposite, writing a new play with the main theme of accusing slavery. The third way -- without changing the overall structure and relying on the thorough renewal of individual components to import new ideas -- does not seem to be feasible. "Qian Zhong Lu" shows a political struggle at the top of the Ming Dynasty, that is, the story of Emperor Jianwen, accompanied by Cheng Ji, who fled disguised as a monk after Zhu Di, the King of Yan, captured Nanjing. The play also exposes the dark politics and promotes a very explicit idea of blind loyalty. For the sake of the safety of the emperor who was considered orthodox, those loyal ministers and righteous men could be rescued at the cost of their lives. Hard work is not enough to cherish, blood is not enough to cherish, beheading is not enough, abandoning the family is not worth cherishing, all for an emperor, an emperor who can not expect him to bring any benefits to society and the people! Many plays that advocate the concept of loyalty to the monarch often design the monarch as a lofty idol, describing how people give up their personal interests to worship him; "Qian Zhong Lu", on the other hand, ingeniously puts the king in the plight of displacement, so that the idol has some living breath, and the suffering of the people in the war is displayed in front of him, which makes him have a more practical connection with social life. In this way, the idea of blind loyalty is mixed with the dissatisfaction with the dark politics, although the two are fundamentally related. This mixture, in terms of artistic style, forms a vigorous style, which is also the basic style of Li Yu's plays. The following lyrics were sung by Emperor Jianwen when he witnessed all kinds of tragedies on the road: Pack up the mountains and rivers of the earth, and the four are all empty. Through the long journey, the desert flat forest, the base mountain, the rolling Yangtze River. But seeing the cold clouds, the miserable fog and the melancholy weaving, I can't bear the bitter rain,Empty Glass Foundation Bottle, the sad wind and the long resentment. Xiongcheng strong, see Jiangshan unharmed, who know me a gourd ladle a hat to Xiangyang. penghuangbottle.com