或以为《牡丹亭》最有价值的是前二十出,此后魂游、回生后的戏,每况愈下。这种认识未必符合“原作的意趣”。应当把《牡丹亭》当成有机完整的整体来审视。它所写杜丽娘生前、死后、回生三个阶段,在表现曲意中,分工合作,各有自己的任务。 其始也,是“不经人事意相关”、为情而死的“想中缘”。继之的第二部曲“幻境缘”,则是让“想中缘”在特殊环境下得到具象表现。“想中缘”在现实中将有何种遭遇?是为“浊世缘”的第三部曲。 Or think “The Peony Pavilion” is the most valuable is the first twenty, since the Soul Travel, afterlife drama, deteriorating. This understanding may not be consistent with “the original intention of”. The “Peony Pavilion” should be considered as a complete organic whole. When it was written, Du Li-niang lived, died, and returned to the three stages. In the performance of the song, the division of labor and cooperation have their own tasks. At the very beginning, it was “a destination to be loved” that died of love without “being related by people”. Followed by the second part of “fantasy edge”, is to “want to edge” in a special environment to get a concrete expression. What kind of encounters would the “Wanna Margin” be the reality?