A Chinese Ghost Story
View Translation
(Qian Nu You Hun)
This Taiwanese serial (or strictly speaking, a collaboration again, between Taiwan, China and Singapore), A Chinese Ghost Story (Qian Nu You Hun), which even before its official release has somehow caused a stir and eager anticipation because of the 1987 highly successful movie with the same title (a sequel in 1989 too) starring the late Leslie Cheung and Joey Wong. To be more precise, the movie is a classic in Hong Kong movie history. Qian Nu You Hun is adapted from one of the stories from the novel Liao Zhai by Pu Songling.
Just to add, except for the main characters and perhaps the first few episodes, there are no other similarities between this TV adaptation and the movie version. What makes this serial captivating is attributed more to the numerous complex but innovative sub-plots, which are all somehow cleverly linked to the main plot in a subtle way. Basically, there are two opposing forces, the demonic Yinyue Empire and the righteous Xuanxin Sect.
Starting with a genuine interest to catch this serial, in part due to the movie and also because of the fresh pairing of Hong Kong singer Daniel Chan and Taiwanese singer/actress Barbie Hsu (Da S), ironically, it turns out that what has sustained my continued interest in this serial is not this supposedly main couple, but rather the draw of other factors. Daniel Chan, obviously, is in need of more acting lessons. Not only did he not succeed in bringing out the innocence and kind-heartedness of the character Ning Caichen (which has been brilliantly portrayed by Leslie Cheung), he has failed miserably in creating his own memorable and unique brand. The same goes for Barbie Hsu, although her acting is much more bearable. She is cute and has nice, fair complexion. However, she lacks the beauty and gracefulness of Joey Wong. Her level of chemistry with Daniel Chan is practically zero. A supposedly beautiful love story (Caichen and Xiaoqian), sadly, has been reduced to a boring and draggy one, in part due to bad acting, and the script written for this couple in here. Simply put, both leads have failed to evoke any feelings in me, leaving me emotionless.
Perhaps, without the burden of comparison with the movie or what, somehow, it is those new characters with their distinct personalities and adequate role progress, who truly shine. Among them are the capable and independent practitioner of the invincible Xuanxin Mystic, Yan Hongye (Jessica Hsuan), jovial and devoted half demon half human, Zhuge Liuyun (Wu Jing) and the suave and awesome demon lord, Qiye (Nie Yuan). The character who has left the most unforgettable impression on me is none other than the ultra cool, devoted, yet pitiful, Qiye, who is forced to lie at the crossroads of evil and good. His wish has always been that demons and humans could co-exist amicably one day. His selflessness when it comes to love (even when unrequited) is heartrending. Nie Yuan was a new face to me, but now his portrayal of Qiye is imprinted in my memory. In the last few episodes, my heart completely goes out to him. Accomplished veteran artistes like Tian Niu and Yuen Wah are at their usual best in here, as the resourceful Sima Sanniang and highly skilled Yan Chixia respectively.
The central theme is love and hence, throughout the serial, there are many romantic relationships, of which the main focus is placed on the Star Crossed Lovers. No couple really moves me. However, if I have to choose a more memorable one out of all, then it would be the short romance between Zhuge Liuyun and the white-haired Hongye. Honestly speaking, as the serial proceeds, I had this thought that it would have been a great idea if the scriptwriter could take a further step in developing the relationship between the sweet-looking Snow Demon, Xiaoxue (Xia Yuqiao), and Qiye. Sadly, that was merely plain wishful thinking on my part. *sigh* In my view, she is the one who really understands and cares for him. They also do look pretty compatible.
Another drawing factor, undoubtedly, is the array of guest stars in here. Be it the extremely brief appearance by Gallen Lo as Liudao Mojun, Amy Chan as Lanmo, or Sheren Tang as Su Tianxin, to some extent, they all have contributed to making this serial more engaging. In particular, Lanmo's story, to me, is the most emotional segment of the entire show. The mother-son relationship between her and Zhuge Liuyun is pretty touching.
I am actually glad that this serial has reused the classic theme song from the movie. It brings back fond memories. The background music (mainly instrumental variations of the opening song to fit the mood, where appropriate) is one aspect that I like. The ending song by Daniel Chan grows on one too. What is very disappointing is the lame and dull ending (What's up with all those cheesy endings these days?? *shrugs* ). It is so anti-climatic compared to all the excitement and tension in the first half of the last episode. Darn...that spoils the whole thing.
Overall, Qian Nu You Hun is still considered a worthy catch, with all those bizarre and refreshing subplots (even though some parts can be a bit confusing and questionable) and dazzling special effects and fighting scenes. For me, it's a relaxing feeling to simply immerse oneself in the world of fantasy and mystical beliefs, and let imagination run freely, given the stressful life in the real world. Laudable performances turned in by most of the cast further heighten the appeal of this serial.
(Qian Nu You Hun)
This Taiwanese serial (or strictly speaking, a collaboration again, between Taiwan, China and Singapore), A Chinese Ghost Story (Qian Nu You Hun), which even before its official release has somehow caused a stir and eager anticipation because of the 1987 highly successful movie with the same title (a sequel in 1989 too) starring the late Leslie Cheung and Joey Wong. To be more precise, the movie is a classic in Hong Kong movie history. Qian Nu You Hun is adapted from one of the stories from the novel Liao Zhai by Pu Songling.
Just to add, except for the main characters and perhaps the first few episodes, there are no other similarities between this TV adaptation and the movie version. What makes this serial captivating is attributed more to the numerous complex but innovative sub-plots, which are all somehow cleverly linked to the main plot in a subtle way. Basically, there are two opposing forces, the demonic Yinyue Empire and the righteous Xuanxin Sect.
Starting with a genuine interest to catch this serial, in part due to the movie and also because of the fresh pairing of Hong Kong singer Daniel Chan and Taiwanese singer/actress Barbie Hsu (Da S), ironically, it turns out that what has sustained my continued interest in this serial is not this supposedly main couple, but rather the draw of other factors. Daniel Chan, obviously, is in need of more acting lessons. Not only did he not succeed in bringing out the innocence and kind-heartedness of the character Ning Caichen (which has been brilliantly portrayed by Leslie Cheung), he has failed miserably in creating his own memorable and unique brand. The same goes for Barbie Hsu, although her acting is much more bearable. She is cute and has nice, fair complexion. However, she lacks the beauty and gracefulness of Joey Wong. Her level of chemistry with Daniel Chan is practically zero. A supposedly beautiful love story (Caichen and Xiaoqian), sadly, has been reduced to a boring and draggy one, in part due to bad acting, and the script written for this couple in here. Simply put, both leads have failed to evoke any feelings in me, leaving me emotionless.
Perhaps, without the burden of comparison with the movie or what, somehow, it is those new characters with their distinct personalities and adequate role progress, who truly shine. Among them are the capable and independent practitioner of the invincible Xuanxin Mystic, Yan Hongye (Jessica Hsuan), jovial and devoted half demon half human, Zhuge Liuyun (Wu Jing) and the suave and awesome demon lord, Qiye (Nie Yuan). The character who has left the most unforgettable impression on me is none other than the ultra cool, devoted, yet pitiful, Qiye, who is forced to lie at the crossroads of evil and good. His wish has always been that demons and humans could co-exist amicably one day. His selflessness when it comes to love (even when unrequited) is heartrending. Nie Yuan was a new face to me, but now his portrayal of Qiye is imprinted in my memory. In the last few episodes, my heart completely goes out to him. Accomplished veteran artistes like Tian Niu and Yuen Wah are at their usual best in here, as the resourceful Sima Sanniang and highly skilled Yan Chixia respectively.
The central theme is love and hence, throughout the serial, there are many romantic relationships, of which the main focus is placed on the Star Crossed Lovers. No couple really moves me. However, if I have to choose a more memorable one out of all, then it would be the short romance between Zhuge Liuyun and the white-haired Hongye. Honestly speaking, as the serial proceeds, I had this thought that it would have been a great idea if the scriptwriter could take a further step in developing the relationship between the sweet-looking Snow Demon, Xiaoxue (Xia Yuqiao), and Qiye. Sadly, that was merely plain wishful thinking on my part. *sigh* In my view, she is the one who really understands and cares for him. They also do look pretty compatible.
Another drawing factor, undoubtedly, is the array of guest stars in here. Be it the extremely brief appearance by Gallen Lo as Liudao Mojun, Amy Chan as Lanmo, or Sheren Tang as Su Tianxin, to some extent, they all have contributed to making this serial more engaging. In particular, Lanmo's story, to me, is the most emotional segment of the entire show. The mother-son relationship between her and Zhuge Liuyun is pretty touching.
I am actually glad that this serial has reused the classic theme song from the movie. It brings back fond memories. The background music (mainly instrumental variations of the opening song to fit the mood, where appropriate) is one aspect that I like. The ending song by Daniel Chan grows on one too. What is very disappointing is the lame and dull ending (What's up with all those cheesy endings these days?? *shrugs* ). It is so anti-climatic compared to all the excitement and tension in the first half of the last episode. Darn...that spoils the whole thing.
Overall, Qian Nu You Hun is still considered a worthy catch, with all those bizarre and refreshing subplots (even though some parts can be a bit confusing and questionable) and dazzling special effects and fighting scenes. For me, it's a relaxing feeling to simply immerse oneself in the world of fantasy and mystical beliefs, and let imagination run freely, given the stressful life in the real world. Laudable performances turned in by most of the cast further heighten the appeal of this serial.
去问汤翁什么叫沁骨入髓的伤春？
View Translation
[摘要]看到柳梦梅如痴如醉忘乎所以，我就特别能理解，为什么过去了400年人们还不断地念叨汤显祖这个倔强老头，他的确是把人的真性情写尽了。
400年前的7月29日，倔强老头汤显祖在江西临川简陋的家中撒手人寰，那年他66岁。现在看来虽然算不上高寿，但他的一生跨越了三个年号——嘉靖、隆庆、万历。他一生对“存天理、灭人欲”的正统理学从来都厌恶之至。相反他一生嗜“狂”，他曾经说过“不颠不狂，其名不彰”，追求无拘无束的自由心灵是他的最爱，而一生都情感丰沛于理智的他，对至情至性的追求更是毫不讳言。在那个宋明理学为正统的时代，虽然已有了讲究本心的“心学”萌芽破土，但他终究还属于一个异类，以至于40来岁他就辞官告老，而且这一去就是20年，直到离世再没吃过回头草。
不能在庙堂之上践履他的儒家之志，但是“失之东隅，收之桑榆”，隐居的生活却无意成全了让他流芳百世的“临川四梦”，人生的路就是这么不可预知。要是他知道自己的这些闲笔之作能够穿越了四百年，即使在今天的舞台上依旧让人感动涕零，他还会不会在将死之际在给友人的信中用“戛戛一生，寡过未能”来给自己盖棺定论呢？也不好说，推算起来生于1550年9月24日的汤显祖刚好是天秤座中人，万事应该是最喜求得平衡的。而他这一辈子也的确是总在儒、道、佛之间摇摆，所谓拯救和逍遥历来就是中国文人跳不出的漩涡。但是建功立业又几乎是所有中国文人心向往之，更何况是这个天秤座的汤显祖呢？
不过，与儒、道、佛在他心中的摇摆相比，他对“情”的坚定信奉却从来没有动摇过，“真性情”才是这个临川才子一生最执著的追求。他对情的巅峰演绎就是那位被人们诉说了、感伤了、共鸣了、搬演了400年的伤春女子杜丽娘。在中国古典戏曲中其实从来不缺乏那种“只是因为在人群中多看了你一眼，再也没能忘掉你容颜”的爱情传奇，为了爱而大胆私奔的闺阁女子比比皆是：《墙头马上》中为了“那一眼”与裴少俊在裴家后花园私定终身，被藏娇七年的李千金；《倩女离魂》中，因为相思而魂魄一路追随情郎赴京赶考的张倩女；《玉簪记》中一路追赶自己情郎的道姑陈妙常；《红梅阁》中只因赞叹了“美哉，少年”而被贾似道所杀，最终仍以鬼魂之躯搭救这位少年的李慧娘等等，但是似乎这些都抵不过这个“情不知其所起，一往而深。生者可以死，死可以生”的杜家小姐丽娘。
原来，跨越生死，为爱而死，又为爱而生还不是杜家小姐的全部，最令人悲哀的是，与别的女子至少还有一个活生生爱的对象相比，杜家小姐长到二八年龄却连个青春少年的影子都看不到。青春年华之际围绕在她身边的不是强调周公礼数的父亲，就是那位腐朽先生陈最良。这倒罢了，连白日午睡、刺绣鸳鸯都被认为是不符合家教的行为。本应是青春烂漫的好年华，却被自己的亲人以爱的名义束缚在一个精致而扭曲的封闭空间内。幸好有春香作伴，就像崔莺莺有红娘一样，小春香为了让杜丽娘消遣散心，趁杜宝下乡劝农之际把小姐带到了近在咫尺却从未踏入过的后花园，这下彻底冲开了杜丽娘一直备受压抑的心扉。她看着花园里“朝飞暮卷，云霞翠轩。雨丝风片，烟波画船”，这么美的景致却无人欣赏，生生是“原来姹紫嫣红开遍，似这般都付与断井颓垣”，不禁顾影自怜，千般愁怨涌上心头。“一生爱好是天然”的杜丽娘，却遭遇着“恰三春好处无人见”的寂寥，一声长叹，只能是“锦屏人忒看的这韶光贱”。这还不算，汤显祖还让因春伤怀的杜丽娘在梦中彻底卸下了现实的枷锁，大胆地与自己想象的爱人经历了番巫山云雨。梦中的杜丽娘娇而不羞，笑而不语，对一个素昧平生的男子毫不矜持，梦醒后还念念不忘那个虚幻男子对自己的千般爱惜，万种温存。
我突然觉得，历来昆班搬演《牡丹亭》最多的是《寻梦》，这是有道理的，汤显祖对女儿家情感极尽私密、细腻、大胆的描写，真正是可以跨越古今的。今天纵然时代变迁，可哪个女孩没个怦然心动、念念不忘、因为相思而茶饭不思的光景呢？汤显祖真是把一个千金小姐、一个女儿家对青春、爱情、自由的渴望写到骨髓里了。
正因如此，在老汤还活着的时候，官场失意的他就圈粉无数，名满天下。当年因为《牡丹亭》而对他心生爱慕的女子可不在少数。据说有个娄江美人叫俞二娘的，从小体弱多病，一次偶然在病榻上读了老汤的《牡丹亭》后就黯然神伤，觉得这位汤显祖真是写到她的心里去了。于是每天对其爱不释手，后竟然断肠而死，死时才17岁。还曾有一个内江女子，自恃才色双全，眼光甚高，当她读了《牡丹亭》后，就想向汤显祖托付终身，但当她知道汤显祖已经是一位垂垂老翁后，竟然誓不嫁他人，投水而死。不仅如此，据记载想嫁老汤的人还不少呢，金凤钿、冯小青，这都是有名有姓的良家女子。还有一名叫商小玲的杭州女伶，据说也是色艺双绝，尤其擅长演《牡丹亭》，每次演《寻梦》、《闹殇》几出时，都是入戏很深，缠绵悱恻，演完泪痕盈目。一日，演《寻梦》时，待唱到“待打并香魂一片，阴雨梅天，守得个梅根相见”时，突然倒在戏台上，饰演春香的伶人上台一看，她已经气绝。一个老头怎么就把这些女儿家们闹得神魂颠倒，实在是因为汤显祖真正是个大情种，以情写情，他把女人现实情爱的不得落于纸上，让人唏嘘。
当然，别忘了，这还离不开汤显祖笔下那个令杜丽娘跨越阴阳界的柳梦梅，那个有些痴、有些傻、颜值也不低的书生。说这个柳梦梅是正统意义上的书生也肯定不是，或许其中还有汤显祖自己的影子呢！他写得一手好文章，本应该好好读书的，却没事就“情思昏昏”。穷书生连饭都吃不饱呢，却经常白日梦做起来：“梅花树下，立着个美人。不长不短，如送如迎”。当他在梅花观里住下后，本来还是病病歪歪呢，可在后花园中一不小心拾到了一幅好似观音姐姐的画，这可不得了了。夜深人静之时，他独自欣赏着眼前的画中人。揣度她似观音呢，似嫦娥呢，还是人间女子呢？这个痴人围着画，或俯或仰或左或右或上或下，着实研究了半饷，突然发现画中人竟然与自己曾经梦中的那个美人长得一模一样的，于是一下子兴奋得好像病也好了三分。好德如好色者，就是柳梦梅的写照，汤显祖从来没有掩饰过这位柳兄的真性情。昆班《叫画》一折通过对汤显祖原本《玩真》的再加工创造更是将柳梦梅的痴情与可爱发挥到了极点。对着一画中人，这位书生忘乎所以了，又是“小娘子”，又是“美人”、“姐姐”的，最后干脆“我那嫡嫡亲亲的姐姐”叫起来。这还没完，对着画诉说衷肠也只有柳梦梅了，看他絮絮叨叨地“俺孤单在此，少不得将小娘子画像早晚玩之、拜之、叫之，赞之”，再听他殷勤招待“啊小娘子，这里有风，请小娘子到里边去”、“小娘子是客，先请”，这个柳梦梅放在今天，就是个撩妹高手。
看到柳梦梅如痴如醉忘乎所以，我就特别能理解，为什么过去了400年人们还不断地念叨汤显祖这个倔强老头，他的确是把人的真性情写尽了。
[摘要]看到柳梦梅如痴如醉忘乎所以，我就特别能理解，为什么过去了400年人们还不断地念叨汤显祖这个倔强老头，他的确是把人的真性情写尽了。
400年前的7月29日，倔强老头汤显祖在江西临川简陋的家中撒手人寰，那年他66岁。现在看来虽然算不上高寿，但他的一生跨越了三个年号——嘉靖、隆庆、万历。他一生对“存天理、灭人欲”的正统理学从来都厌恶之至。相反他一生嗜“狂”，他曾经说过“不颠不狂，其名不彰”，追求无拘无束的自由心灵是他的最爱，而一生都情感丰沛于理智的他，对至情至性的追求更是毫不讳言。在那个宋明理学为正统的时代，虽然已有了讲究本心的“心学”萌芽破土，但他终究还属于一个异类，以至于40来岁他就辞官告老，而且这一去就是20年，直到离世再没吃过回头草。
不能在庙堂之上践履他的儒家之志，但是“失之东隅，收之桑榆”，隐居的生活却无意成全了让他流芳百世的“临川四梦”，人生的路就是这么不可预知。要是他知道自己的这些闲笔之作能够穿越了四百年，即使在今天的舞台上依旧让人感动涕零，他还会不会在将死之际在给友人的信中用“戛戛一生，寡过未能”来给自己盖棺定论呢？也不好说，推算起来生于1550年9月24日的汤显祖刚好是天秤座中人，万事应该是最喜求得平衡的。而他这一辈子也的确是总在儒、道、佛之间摇摆，所谓拯救和逍遥历来就是中国文人跳不出的漩涡。但是建功立业又几乎是所有中国文人心向往之，更何况是这个天秤座的汤显祖呢？
不过，与儒、道、佛在他心中的摇摆相比，他对“情”的坚定信奉却从来没有动摇过，“真性情”才是这个临川才子一生最执著的追求。他对情的巅峰演绎就是那位被人们诉说了、感伤了、共鸣了、搬演了400年的伤春女子杜丽娘。在中国古典戏曲中其实从来不缺乏那种“只是因为在人群中多看了你一眼，再也没能忘掉你容颜”的爱情传奇，为了爱而大胆私奔的闺阁女子比比皆是：《墙头马上》中为了“那一眼”与裴少俊在裴家后花园私定终身，被藏娇七年的李千金；《倩女离魂》中，因为相思而魂魄一路追随情郎赴京赶考的张倩女；《玉簪记》中一路追赶自己情郎的道姑陈妙常；《红梅阁》中只因赞叹了“美哉，少年”而被贾似道所杀，最终仍以鬼魂之躯搭救这位少年的李慧娘等等，但是似乎这些都抵不过这个“情不知其所起，一往而深。生者可以死，死可以生”的杜家小姐丽娘。
原来，跨越生死，为爱而死，又为爱而生还不是杜家小姐的全部，最令人悲哀的是，与别的女子至少还有一个活生生爱的对象相比，杜家小姐长到二八年龄却连个青春少年的影子都看不到。青春年华之际围绕在她身边的不是强调周公礼数的父亲，就是那位腐朽先生陈最良。这倒罢了，连白日午睡、刺绣鸳鸯都被认为是不符合家教的行为。本应是青春烂漫的好年华，却被自己的亲人以爱的名义束缚在一个精致而扭曲的封闭空间内。幸好有春香作伴，就像崔莺莺有红娘一样，小春香为了让杜丽娘消遣散心，趁杜宝下乡劝农之际把小姐带到了近在咫尺却从未踏入过的后花园，这下彻底冲开了杜丽娘一直备受压抑的心扉。她看着花园里“朝飞暮卷，云霞翠轩。雨丝风片，烟波画船”，这么美的景致却无人欣赏，生生是“原来姹紫嫣红开遍，似这般都付与断井颓垣”，不禁顾影自怜，千般愁怨涌上心头。“一生爱好是天然”的杜丽娘，却遭遇着“恰三春好处无人见”的寂寥，一声长叹，只能是“锦屏人忒看的这韶光贱”。这还不算，汤显祖还让因春伤怀的杜丽娘在梦中彻底卸下了现实的枷锁，大胆地与自己想象的爱人经历了番巫山云雨。梦中的杜丽娘娇而不羞，笑而不语，对一个素昧平生的男子毫不矜持，梦醒后还念念不忘那个虚幻男子对自己的千般爱惜，万种温存。
我突然觉得，历来昆班搬演《牡丹亭》最多的是《寻梦》，这是有道理的，汤显祖对女儿家情感极尽私密、细腻、大胆的描写，真正是可以跨越古今的。今天纵然时代变迁，可哪个女孩没个怦然心动、念念不忘、因为相思而茶饭不思的光景呢？汤显祖真是把一个千金小姐、一个女儿家对青春、爱情、自由的渴望写到骨髓里了。
正因如此，在老汤还活着的时候，官场失意的他就圈粉无数，名满天下。当年因为《牡丹亭》而对他心生爱慕的女子可不在少数。据说有个娄江美人叫俞二娘的，从小体弱多病，一次偶然在病榻上读了老汤的《牡丹亭》后就黯然神伤，觉得这位汤显祖真是写到她的心里去了。于是每天对其爱不释手，后竟然断肠而死，死时才17岁。还曾有一个内江女子，自恃才色双全，眼光甚高，当她读了《牡丹亭》后，就想向汤显祖托付终身，但当她知道汤显祖已经是一位垂垂老翁后，竟然誓不嫁他人，投水而死。不仅如此，据记载想嫁老汤的人还不少呢，金凤钿、冯小青，这都是有名有姓的良家女子。还有一名叫商小玲的杭州女伶，据说也是色艺双绝，尤其擅长演《牡丹亭》，每次演《寻梦》、《闹殇》几出时，都是入戏很深，缠绵悱恻，演完泪痕盈目。一日，演《寻梦》时，待唱到“待打并香魂一片，阴雨梅天，守得个梅根相见”时，突然倒在戏台上，饰演春香的伶人上台一看，她已经气绝。一个老头怎么就把这些女儿家们闹得神魂颠倒，实在是因为汤显祖真正是个大情种，以情写情，他把女人现实情爱的不得落于纸上，让人唏嘘。
当然，别忘了，这还离不开汤显祖笔下那个令杜丽娘跨越阴阳界的柳梦梅，那个有些痴、有些傻、颜值也不低的书生。说这个柳梦梅是正统意义上的书生也肯定不是，或许其中还有汤显祖自己的影子呢！他写得一手好文章，本应该好好读书的，却没事就“情思昏昏”。穷书生连饭都吃不饱呢，却经常白日梦做起来：“梅花树下，立着个美人。不长不短，如送如迎”。当他在梅花观里住下后，本来还是病病歪歪呢，可在后花园中一不小心拾到了一幅好似观音姐姐的画，这可不得了了。夜深人静之时，他独自欣赏着眼前的画中人。揣度她似观音呢，似嫦娥呢，还是人间女子呢？这个痴人围着画，或俯或仰或左或右或上或下，着实研究了半饷，突然发现画中人竟然与自己曾经梦中的那个美人长得一模一样的，于是一下子兴奋得好像病也好了三分。好德如好色者，就是柳梦梅的写照，汤显祖从来没有掩饰过这位柳兄的真性情。昆班《叫画》一折通过对汤显祖原本《玩真》的再加工创造更是将柳梦梅的痴情与可爱发挥到了极点。对着一画中人，这位书生忘乎所以了，又是“小娘子”，又是“美人”、“姐姐”的，最后干脆“我那嫡嫡亲亲的姐姐”叫起来。这还没完，对着画诉说衷肠也只有柳梦梅了，看他絮絮叨叨地“俺孤单在此，少不得将小娘子画像早晚玩之、拜之、叫之，赞之”，再听他殷勤招待“啊小娘子，这里有风，请小娘子到里边去”、“小娘子是客，先请”，这个柳梦梅放在今天，就是个撩妹高手。
看到柳梦梅如痴如醉忘乎所以，我就特别能理解，为什么过去了400年人们还不断地念叨汤显祖这个倔强老头，他的确是把人的真性情写尽了。
“诗词歌赋”争艳方寸间
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诗词歌赋是中华民族璀璨的文化瑰宝，将其呈现在国家名片的邮票上，更加体现了文化与艺术的完美结合。
据近日《中国集邮报》载文，中国邮政将于11月12日发行《诗词歌赋》邮票一套4枚，为这一题材又增添了浓墨重彩的一笔，体现了对中华优秀文化的弘扬。邮票图案分别为（4-1）“杜甫吟诗”。前景为诗人面带笑容骑驴前行的场景，背景为杜甫代表作《春夜喜雨》。整个画面将春色满园的美景及诗人无限喜悦的心情表现得十分生动。(4-2)“东坡填词”。前景为词人苏轼举杯填词的动态，他眼睛微闭，似乎是在思念故人，背景为其代表作《水调歌头》。画面中词人手执酒杯，与背景中望月遥寄思念的人物形成互动，更衬托出思念和不舍之情。(4-3)“居易醉歌”。画面中白居易面带哀叹之情，若有若无，一边赋歌一边思绪万千哀叹唐明皇和杨玉环的爱情悲剧。背景为唐明皇和杨玉环同游花园的情形。(4-4)“曹植作赋”。前景是曹植的形象，背景为《洛神赋》中的场景。洛神仪容美丽，服饰华美，作者通过梦幻的场景以浪漫的手法，描写人神之间的真挚爱情。该套邮票由当代中国著名画家冯远设计，河南省邮电印刷厂印制，是第一套尝试采用胶雕套印的印制方式来诠释中国画艺术手法的邮票，细细赏析，别有一番韵味。
翻开笔者的邮票藏册，发现我国从2009年起先后发行过三套此类题材的邮票。2009年9月13日，我国发行的《唐诗三百首》（t）邮票,全套6枚，邮票图案选取了唐诗中最典型的6种体例，而每首诗既是表现盛唐气象的大家之作，也代表了各自不同的风格流派。邮票版张采用竖构图，以中国传统古画“雪景寒林图轴”作为边饰，版张的中心位置是6枚邮票，6首诗分别是李白的《下江陵》、杜甫的《望岳》、白居易的《琵琶行》、李商隐的《无题》、张九龄的《望月怀远》和王之涣的《登鹳雀楼》。版张的上部是《唐诗三百首》全部313首诗的微缩文字。邮票采用简洁、浓缩的设计语言,体现出“一版票，一本书”理念，并结合当代先进的印刷工艺，实现了“可视、可触、可闻、可听”的艺术效果。
2012年8月31日，我国发行的《宋词》（t）邮票,全套6枚，票面左为词，右为画，所谓画配诗、诗伴画，以画释诗，以诗写意。邮票中的6首词分别为（6-1）《浣溪沙》是著名词人晏殊的名篇，表达了词人惜之情，蕴含着对生命的思考；（6-2）《念奴娇?赤壁怀古》是著名词人苏轼的名篇，作于作者贬居黄州时期，词人抒发了对英雄人物的追慕之情，表达了人生空漠之感；（6-3）《鹊桥仙》是著名词人秦观的名篇，此词为牛郎织女的故事而作；（6-4）《一剪梅》是著名词人李清照的名篇。这首词抒发了相思之情；（6-5）《卜算子·咏梅》是著名词人陆游的名篇，这首词托物言志，赋予梅花以高尚的气节，堪称咏梅诗词中的绝唱；（6-6）《破陈子·为陈同甫赋壮语以寄》是著名词人辛弃疾的名篇，这是一首饱含爱国热情的壮词。
2014年12月1日，我国发行的《元曲》邮票，延续了《唐诗三百首》、《宋词》邮票的发行形式，以缩微文字工艺将《元曲三百首》全文印制在邮票周边，借助专用点读笔点触邮票，或扫描二维码，可以欣赏到元曲的音频。该套邮票由工笔画家萧玉田创作。采用传统的绘画手法，使用矿物颜料，展现出工笔重彩细密工整、敷色艳丽的特点。邮票表现内容生动形象，气氛浓烈，配合正、行、草、隶、篆及金文书法字体。采用胶雕套印工艺印制。全套6枚，内容分别选取元代马致远的《天净沙·秋思》、张养浩的《山坡羊·潼关怀古》、关汉卿的《窦娥冤》、白朴的《墙头马上》、纪君祥的《赵氏孤儿》和郑光祖的《倩女离魂》。画面设计使用古版画，还原元曲的本质。
诗词歌赋是中华民族璀璨的文化瑰宝，将其呈现在国家名片的邮票上，更加体现了文化与艺术的完美结合。
据近日《中国集邮报》载文，中国邮政将于11月12日发行《诗词歌赋》邮票一套4枚，为这一题材又增添了浓墨重彩的一笔，体现了对中华优秀文化的弘扬。邮票图案分别为（4-1）“杜甫吟诗”。前景为诗人面带笑容骑驴前行的场景，背景为杜甫代表作《春夜喜雨》。整个画面将春色满园的美景及诗人无限喜悦的心情表现得十分生动。(4-2)“东坡填词”。前景为词人苏轼举杯填词的动态，他眼睛微闭，似乎是在思念故人，背景为其代表作《水调歌头》。画面中词人手执酒杯，与背景中望月遥寄思念的人物形成互动，更衬托出思念和不舍之情。(4-3)“居易醉歌”。画面中白居易面带哀叹之情，若有若无，一边赋歌一边思绪万千哀叹唐明皇和杨玉环的爱情悲剧。背景为唐明皇和杨玉环同游花园的情形。(4-4)“曹植作赋”。前景是曹植的形象，背景为《洛神赋》中的场景。洛神仪容美丽，服饰华美，作者通过梦幻的场景以浪漫的手法，描写人神之间的真挚爱情。该套邮票由当代中国著名画家冯远设计，河南省邮电印刷厂印制，是第一套尝试采用胶雕套印的印制方式来诠释中国画艺术手法的邮票，细细赏析，别有一番韵味。
翻开笔者的邮票藏册，发现我国从2009年起先后发行过三套此类题材的邮票。2009年9月13日，我国发行的《唐诗三百首》（t）邮票,全套6枚，邮票图案选取了唐诗中最典型的6种体例，而每首诗既是表现盛唐气象的大家之作，也代表了各自不同的风格流派。邮票版张采用竖构图，以中国传统古画“雪景寒林图轴”作为边饰，版张的中心位置是6枚邮票，6首诗分别是李白的《下江陵》、杜甫的《望岳》、白居易的《琵琶行》、李商隐的《无题》、张九龄的《望月怀远》和王之涣的《登鹳雀楼》。版张的上部是《唐诗三百首》全部313首诗的微缩文字。邮票采用简洁、浓缩的设计语言,体现出“一版票，一本书”理念，并结合当代先进的印刷工艺，实现了“可视、可触、可闻、可听”的艺术效果。
2012年8月31日，我国发行的《宋词》（t）邮票,全套6枚，票面左为词，右为画，所谓画配诗、诗伴画，以画释诗，以诗写意。邮票中的6首词分别为（6-1）《浣溪沙》是著名词人晏殊的名篇，表达了词人惜之情，蕴含着对生命的思考；（6-2）《念奴娇?赤壁怀古》是著名词人苏轼的名篇，作于作者贬居黄州时期，词人抒发了对英雄人物的追慕之情，表达了人生空漠之感；（6-3）《鹊桥仙》是著名词人秦观的名篇，此词为牛郎织女的故事而作；（6-4）《一剪梅》是著名词人李清照的名篇。这首词抒发了相思之情；（6-5）《卜算子·咏梅》是著名词人陆游的名篇，这首词托物言志，赋予梅花以高尚的气节，堪称咏梅诗词中的绝唱；（6-6）《破陈子·为陈同甫赋壮语以寄》是著名词人辛弃疾的名篇，这是一首饱含爱国热情的壮词。
2014年12月1日，我国发行的《元曲》邮票，延续了《唐诗三百首》、《宋词》邮票的发行形式，以缩微文字工艺将《元曲三百首》全文印制在邮票周边，借助专用点读笔点触邮票，或扫描二维码，可以欣赏到元曲的音频。该套邮票由工笔画家萧玉田创作。采用传统的绘画手法，使用矿物颜料，展现出工笔重彩细密工整、敷色艳丽的特点。邮票表现内容生动形象，气氛浓烈，配合正、行、草、隶、篆及金文书法字体。采用胶雕套印工艺印制。全套6枚，内容分别选取元代马致远的《天净沙·秋思》、张养浩的《山坡羊·潼关怀古》、关汉卿的《窦娥冤》、白朴的《墙头马上》、纪君祥的《赵氏孤儿》和郑光祖的《倩女离魂》。画面设计使用古版画，还原元曲的本质。
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