汤显祖写杜丽娘追求灵与肉自主,和李卓吾的哲学主张相呼应。他写杜丽娘回生后的种种遭遇,实际上用以说明魂与梦并非虚幻,说明人生本是真真假假、虚虚实实。他写《回生》、《玩真》,似乎是离开了戏剧矛盾的主线,但对刻画柳梦梅以及肯定杜丽娘的追求,有着重要作用。柳梦梅是戏曲史上少有的大胆、务实、灵活的“岭南才子”形象。 Tang Xianzu wrote Du Li-niang’s pursuit of spirituality and flesh autonomy, echoing Li’s philosophy. He wrote all sorts of experiences of Du Li-niang’s return to life, and actually used to show that soul and dream are not illusory, indicating that life is truth, fake, falsehood. His writing “Rebirth” and “Playing Truth” seem to have left the main line of drama contradiction, but it plays an important role in portraying Liu Mengmei and affirming Du Li-niang’s pursuit. Liu Mengmei is a rare, pragmatic and flexible “Lingnan wit” image in the history of opera.