《牡丹亭》与《仲夏夜之梦》中“梦境”的对比研究概述

AComparativeStudyofTheDreamsinThePeonyPavilionAndAMidsummerNight'sDream哈尔滨师范大学王梦莹《牡丹亭》与《仲夏夜之梦》中“梦境”的对比研究 AbstractThispaperwillcarryacomparativestudyoncommonpointsoftwoclassicalromanticdramasbetween16thand17thcenturiesThePeonyPavilionandTheMidsummerNightsDream.TangXianzu(1550-1616),theauthorofthePeonyPavilionandW川iamShakespeare(1564—1616),theauthorofAMidsummerNight'sDreamlivedinthesamehistoricalperiod.Bothofthemwereregardedasthemostoutstandingandinfluentialdramacreatorsintheliteraturehistoryoftheircountries.TheMidsummerNight'sDreawasoneofreprehensiveworksofShakespeare,whichhasbeenadaptedintomovies,stories,games,andpaintings.Similarly,ThePeonyPavilionwasalsothemostimportantworksofTang,whichconsolidatedhissignificancenotonlyinTheliterarycircleofMingdynastybutalsointheChineseancienthistory.Thelastpartistheconclusion.Afteraseriesofanalysis,thispaperdrawstheseconclusions:thedepressionofloveandsexisthelogicalresourceoftwodreams.Theprocessofdreamsisalsotheconflictionbetweensecularethicsandindividualconsciousness.Thesatisfactoryresultsofthetwoworksarethereflectionofideologicalemancipation.Keywords：comparativestudytheP^onyPavilionAMidsummerNightsDreamdreamsi 本文将对十六，十七世纪东西方两部重要的戏剧巨著进行对比分析一一《牡丹亭》和《仲夏夜之梦》，并总结分析出两部作品中“梦”这一意象的相同点。《牡丹亭》的作者汤显祖(1550-1616河口《仲夏夜之梦》的作者莎士比亚(1564—1616)生活在中西方相同的历史时期，却处在不同的社会背景下。两位作者在本国都被视为戏剧发展史上最杰出，最具影响力的剧作家。《仲夏夜之梦》是莎士比亚的代表作之一，自问世以来，被多次改编为电影，故事，游戏，绘画等。同样，《牡丹亭》也是汤显祖一生中最重要的作品之一，不仅奠定了他在明代剧作家中杰出的地位，更使他在中国文学发展史上写下了浓墨重彩的一笔。第五章为结论部分。经过一系列分析后，本文得出如下结论：主人公在现实生活遭受的中性与爱情的压抑是两“梦”的心理起源；两梦的发展过程也是人性与自我意识同封建伦理道德抗争的过程。而两梦的圆满结局，体现了人们思想解放运动的成功。关键词：对比研究梦《牡丹亭》《仲夏夜之梦》 AcomparativestudyoftwodreamsinthePeonyPavilionandAMidsummerNight'sDream1Introduction1.1TangXianzuandThePeonyPavilionTangXianzu(1551-1616),whoalsonamedYiReng,wasbornedinLinChuancity,JiangXiprovince.Hewasadmittedtothegovernmentinhis34andheonceinchargeofformerNanjingministerAtfirst,hewasonceapoliticianwhotriedtoachievethepoliticalaimtoserveforthepeople.Buthewasdisappointedbytheincreasinglycorruptsocialmisfits.Asthewitnessofthecorruptionofthebureaucracy,heonceremonstratedtheemperortoarousehisalleffortstomakethecountryprosperous.However,theemperordecidedtoexpelTangtoXuwencityoutofwrath,whereTangbecameaminorofficial.ThenhewastransferredtoacountymagistrateinSuichangCountyofZhejiang,inthetermoffiveyears,heaccomplishedgreatachievementandgainedtherespectoflocalpeople.However,hewassuppressedbylocalforces.Therefore,hefinallyresigntheposition.AfterbackingHometown,hebegantodevotehimselfinpoetryanddramacreation.Tangwasalsocalled“ChineseShakespeare"becausehisoutstandingaccomplishmentsofdramawriting.Hehadfourrepresentativeworks:ThePurpleHairpin,ThePeonyPavilion,TaleOfNanke,TaleOfHanDan.In2000,TangXianzuwasincludedinthelistofthe100thculturalmastersintheworld.Therewillbeaworldwidecommemorativeactivitiesforthe400anniversaryofthedeathofTangXianzuShakespeareandCervantes,whichshowshisacademicandliteraturestatusin2016.12 1.1ShakespeareAndAMidsummerNight'sDreamWilliamShakespeare(1564T616)wasanEnglishpoetandplaywrightwhowaswidelyregardedasoneofthegreatestwriternotonlyintheEnglishlanguagecountriesbutalsotheworld'spreeminentdramatist.HealsodidgreatcontributiononthedevelopmentofEnglishlanguage.Hehadrepresentativeofthefourmajortragedies:Hamlet,Othello,KingLearandMacbeth,andforcomedies:TheMerchantofVeniceandmorethan100firstsonnets.Manyofhisplayswerepopularandpublishedformanytimesduringhislifetime.Shakespearewasarespectedpoetandplaywrightinhislifetime.However,itwasthe20thcenturywhenhisworkswasintroducedtoallovertheworld.Inthe20thcentury,hisworkwasrepeatedlyadoptedandrediscoveredbynewmovementsinscholarshipandperformance.Hisplaysremainhighlypopulartodayandareconstantlystudied,performedandreinterpretedindiverseculturalandpoliticalcontextsthroughouttheworld.'6decfcctendtochaseHermiaoutofIntheMidsummerNightsDream,Hermiacouldnotacceptthemarriagearrangedbyherfather.Therefore,shedecidedtoelopewithherloverLysanderatnight.HermiatoldherbestfriendHelenaherplan.However,Helena,whoselovehadbeenrejectedbyDemetrius,decidedtowinbackhisfavorbyrevealingtheplantohim.Meanwhile,Demetrius,whohasbeenchosenasHermiadignity.Meanwhile,therewasalsosomethinghappeninginthefairyworld.Oberon,kingofthefairies,quarreledwithhisqueenTitaniaforherrejectiontogivehimIndianboy.OberondecidedtoseekforwaystopunishTtiania'sdisobedienceincidentally,hewastoprovidedwithaflowercalled-in-oveness,whichwouldmadethevictimlosehisconsciousnessfallinlovewiththefirstlivingthingheseeswhenheawakes.OberonappliedthejuicetoTitaniainordertodistracther.PuckputsthejuiceontheeyesofLysander,whothenfellinlovewithHelena.WhenOberonfoundthesemistakesout,hemadePuckapplythejuicetoDemetrius.ButthenHermia'stwdovers"temporarilyturnagainstherinfavorofHelenabecauseofpuck'smistakes.Meanwhile,NickBottom,astage-struckweaver,isspottedbyPuck,whotransformshisheadintothatofanass.TitaniaisawokenbyBottom'ssinging,andsheimmediatelyiflovewithhim.Whileinthisstateofdevotion,sheencounteredOberonandcasuallygavehimtheIndianboy.Havingachievedhisgoals,OberonreleasedTitaniaandordersPucktoremovetheassheadfromBottom.ThemagicalenchantmentwasremovedfromLysanderbutwasallowedtoremainonDemetrius,sothathemayreciprocateHelenaTheselovungpeopleeventuallyfoundtheirtruelovers.TheseusandHippolytaarrivedattheforestatthattime.Afterunderstandingthewhole12 story,Theseusover-ruledEgeus'sdemandsandarrangedgroupwedding.Whenrecallingtheexperiencesintheforest,Theloversthoughtthatitisnotrealitybutafantasticdream.1LiteratureReview1.1StudyofThePeonyPavilionThePeonyPavilionhasbeenamasterpiecethatwongreatpopularity.IntheperiodofMingandQingdynasties,oneofthemostimportanttopicwastheaccuratetimewhentheworkwaspublished.InperiodoftheRepublicofChina,WangGuoweipublishedhisbookaboutthehistoryofChinesedramawherehehasexplainedhisopinionsonthepeonypavilionfromtheperspectiveofaesthetics.(Wang,2010)AttheperiodofThePeople'sRepublicofChina,thestudyofthepeonypavilioncanbedividedintotwoparts.Oneofthemconcentratesontheperspectiveofclassstruggleandanti-feudalism.In1980,ChenZhongfanpointedthatDuhadthespiritof"indomitablestruggle"DuhadRecklessspritsmadeherdaretostruggleforherlove.(Chen,1980:495)In1981,NiFuxianpraisedhercanconsciouslyputforwardheridealandcarryoutitthroughefforts.(Ni,1981).In1985,MaoXiaotongquotedIn1985,YuQiuyupointedthatthePeonyPavilionshowedobviousrebelliontotherealityoftheMingDynastyandtheideologicalsystemofthefeudalsociety(Yu,1985).Theoppositionof"emotion"and"reason"wasalsotheoppositionofloveandmarriage.(Yao,1985)In1987,PanJianhongpointedthatthePeonyPavilionexposedthecontradictionsofthefeudalethicalcodeandtheyoungpeopleandshowedthecoldnessandhypocrisyofthefeudalfamilyrelations.(Pan,1987).In1992,ZhangGengandGuoHanchengpointedthatthePeonyPavilionreflectedtheeagerofmarriagefreedomofyoungpeopleunderthesuppressionoffeudalsystem^Zhang1992).In1994,ShaoZhiqianpointedthaturgedforthefreedomofthedepressedpeople(Shao,1994).In2002,YouGuoenpointedthatthroughthelovestoryofDuLiniangandLiuMengmei,theauthorsonggreatpraisesofthepursuitoffreedomandstrongpersonality12 spirit(You,2002).In2007,LiuDajiepointedthattheliteraryvalueofthePeonyPavilionisthepraiseofyoungpeoplesstrivefortheindependenceofmarriage,fightfortheliberationofindividualityandthefightagainstthefeudalideology(Liu,2007).Loveitselfisanothertopicofstudies.In1983,WangZhiwupointedthatitshowedtherationalityandthetremendouspoweroflove.(Wang,1983).ThenIn1985,YaoMangpointedthatthePeonyPaviliontriedtobreakstereotypesofthe"romantic"andcreatedakindoftruelove.Inrecentyears,asthedevelopmentofculturalcommunicationthePeonyPavilionhasattractedtheinterestofforeigners.Forexample,In1994,JudithT.Zeitlinpublishedthepaper'"SharedDreams:TheStoryofTheThreeWives'CommentaryonThePeonyPavilion”.In2003,CatherineSwatekpublishedherpaperPersons,Roles,andMinds:IdentityinPeonyPavilionandPeachBlossomFan.1.1StudyofAMidsummerNight'sDreamAmidsummernight'sdreamwasoneofthemostpopulardramaswrittenbyShakespeare,ManypeoplecameintocontactwithShakespearebythiswork.IthasalwaysbeenahotspotinresearchcircleofShakespeare.However,inrecentyears,thisworkwasbroadlyadaptedinpsychologicalandeducationalanalysis.In1998,FranceneDavisKirkdidresearchonstudentsenthusiasnShakesiearedramasandthescientificwaystopromotetheirstudy.itwasshowedthatstudentsweremoreactiveinthestudyofAMidsummerNight'sDream.(Kirk,1998)In2009,DavidS.SchneidermadeastudyonthestageperformanceofAMidsummerNight'sDream.(Schneider,2009)In2010,GeorgeEleftheriadesmadeastudyonAMidsummerNight'sDreamfromApedagogicalperspective.(Eleftheriades,2010)Atthesameyear,Veronicapublishedherpaper“NorthStarandSouthernCross:Shakespeare'sComediesinAustralia,1903-1904：itshowedthegreatinfluenceofaMidsummerNight'sDreaminAustralia.(Kelly,2010)In2014,SteveOrmanmadeananalysisonthecomedyskillsusedbyShakespeareinthiswork.(Orman,2014)In2016,InthepaperofSarahCarter,AMidsummerNight'sDreamwasusedasanovertlyintersexualtext.(Carter,2016)In1841,LinZexuorganizedscholarstotranslateTheEncyclopediaofGeography,inwhichShakespearewasfirstlyintroducedtoChina.In1841,YanFureferredtoShakespeareinEvolutionandethics.WhenShakespearewaswritingunrhymedverse12 withgoosequill,hecouldnotimagineoneofhispeerswasdoingsimilarthingintheothersideoftheworld.(Yan,1981:39).1.1SignificanceofTheThesisAsthedevelopmentofculturalcommunication,boththetwoworkshavebeenmoreandmorepopularattheothersideofworld.However,thecomparativestudyofthemfromtheperspectiveofdreamisremainedtobedeveloped.Thispaperwillmakeanalysisthesimilaritiesofthetwoworksfromtheperspectiveofdream.TheanalysiswillbedevelopedintheseaspectsFirstly,whatisthecommonlogicalresourceoftwodreams?Secondly,whatistheessenceoftheprocessoftwodreamsandwhatisthecorespiritconveyedbythem?Thirdly,bothofthetwoworkshavesatisfyingresultsafteramixtureofcomedyandtragedy,sowhatspritscouldbereflectedbytheresults?Whatwerethesimilarsocialandideologicalfactorsoftwowriters?2TheDreamsinTheTwoPlays2.1TheDreaminThePeonyPavilionDuLiniang,theprotagonistofthepeonypavilion,livedinMingdynasty(1368-1644)whenpeople,especiallywomenwerestrictlylimitedbyfeudalethics.Therewasatheorynamedthreeobedienceandthefourvirtuesimpactedonwomen.Theformmeansthatawomanisrequiredtoobeyherfatherbeforemarriage,herhusbandduringmarriagelifeandhersonsinwidowhood.Theirmarriageshouldbearrangedbytheirfather,aftergettingmarried,theymustshowabsoluteobediencetoparents-in-lawandhusbands.Theirtolerancetoconcubineswasamainstandardtojudgetheirvirtue.Ifthhusbandsdieunfortunately,itwasalmostimpossibleforthemtoremarry.Theircenterclifeshouldbetheirchildren.Theywouldtaketheresponsibilityofmanagingfamilyforthem.Thelattercontainsfidelity,physicalcharm,proprietyinspeechandefficiencyinneedleworkandwifelysubmissionandvirtue.Womendidnothavefreedomtodecideanythingincludingtheirmarriagethewholespanoflife.wassateadIDuwasborninafamilywhichstickstoasceticism.Shecouldnotstepoutofherchamberwithoutthepermissionofherparents.HermotherwasevenafraidthattheembroideredflowersandbirdsonDu'sskirtwouldremindherdaughterofsex.ShecriticizedDuharshlyafterknowinghertourismtogarden.Duoldman,whodeliberatelymisinterpretedtheromanticpoemsascarrierofthreeobedienceandthefourvirtues.Asagirlwhowasinherfifteen,shewaseagerforlove.12 Whenshesaunteredinthespringgarden,shewasintoxicatedbythebeauty.Allkindsofflowersbloomedwithnooneappreciatedthem.Thesightstrokedachordinherheart,soshesigned“Seehowdeepestpurplbrightestblossom,opentheirbeautyonlytodrywellcrumbling.“Brightthenhovelythescene,listlessandlosttheheart----whereisthegarden"gaywithjoyouscries?(Birch23)Thebeautyofflowersremindedheroftheconditionofher.Hercharmofwomanwasgoingtobloomliketheflower,buttherewasnoonetoappreciateit.Shefeltupsetbecausehereageroflovecouldnotbesatisfiedinreallife.Therefore,shesignedhelplessly:"HereIamatthedoubleeight,mysixteenyears,yetnofine“scholar。breakthecassiabough"hascomemyway.Myyoungpassionsstirtotheyoungspringseasons.ButwhereshallIfindan'entranifmoonstoadpalace(Birch19).Insomeway,shefoundawayoutofdepressioninherdreamland.Therearenorulesandlimitationsindream.SoshehadsexualexperiencewithLiubythesideofflower,whichcanneverhappeninherreallife.Herfascinatingsexualexperiencewasdescribedinthisway:Againsttheweatheredrockheleanedmywiltingbodythenashelaidmyjadelimbsdown.Smokeissuedfromjadeinwarmthofwun,bybalustradePastswingthereIspreadthefoldsofmyskirt."Atthattime,shebecamearealbeautifulblossom,LiuMengmeiwastheonewhocanappreciateandenjoyherbeauty.1.1TheDreaminAMidsummerNightsDreamTheconditionintheAMidsummerNightsDreamwassimilar.HermialivedinanAthenscitywherewomen'sfreedominmarriagealsostrictlylimitedbyapieceoflawwhichwasquitesimilarwith“thethreeobediencewementioned.MalecitizensofAthenscityhadthepowerofforcingtheirdaughterstomarrywhomevertheychose.Ifadaughterrefused,shewouldbesentencedtodeath.Hermiafacedtheconflictbetweenloveandlaw.Herfatherdidnotcareaboutherfeeling.Hejudgedthequalityofamanbyhisownstandardregardlessoftherealthoughtofhisdaughter.SoheaskedHermia:“WhydoyourefusestomarryDemetrius?Heisreallyaworthygentleman!(Shakespeare16).Hermiacouldnottolerateherfathersautocraticarrangement,shesaid:“I'sorry,Dad!Ican'behiswife.Idon'lovehim.I'vellinlovewithLysander.”(Shakespeare16).Thenherfathermadeaverystrictwarn:"Ifyoudon'tmarryDemetrious,IwillusetheancientrightofAthens,askingtoputyoutodeathaccordingto12 ourlaw!((Shakespeare16)Hermiaoncebeggedherfatherforhermarriagefreedomsincerely:"OhPlease,pleasedonot!MydearfatherDon'youlovemeanymore?Donotgivemeup,pease!”(Shakespeare17)butherrequestwasrejectedbyherfather.Itwasdifficulttomakeherdreamcometrueinreallife.SoHermiachosetogetfarawaywithherlover.Butshedidnotenteranothercityorcountrybutbrokeintoafairylandthatwasfilledwithbeautyandmystery.Shakespeareappliedyoungpeopleanillusoryplacewithoutanyrulesandlawswheretheycanexpresstheirlovefreely.Actually,itdidnotexistinreallife.TheirfreedominloveandmarriageisimpossiblelikeArabiannights.Butinthemagicaljungle,whereeverythingwaspossibleanykindoflovewasreasonable.theycouldgettheromantic,fantasticandlyricalatmospherefromthesupernaturalworldofandfairiestheycouldfeeltheemotionwhichwasshardtoexpressfromtheleadingcharactersinthepresentworld.Boththefairiesandthemagicflowersdidnotexistinreallife.Furthermore,itwasfairiespowerwhichwassuperiortothesecularlawsthathelpedhertogainherlove.WhentheycamebacktoAthens,theygainedthesupportfromDuke,whopersuadedHermia'sfathertoallowtheirmarriage1SimilaritiesofTheTwoWorksinSeveralAspects1.1LogicalResourceofTwoDreams:Dreamsinthetwoworksareusedassituationswherecharacterscouldexpresstheirpassionfreelyandpursuitforlovebravely.Therefore,dreamswereactuallythemediaforauthorstoshowreadersthecorespritofworks.Whenitcomestologicalresourcesofdreamsinthetwoworks,weshouldbeawarethatanyliteratureworkcannotbeisolatedfromsociety.Theexperiencesofprotagonistsareinfluencedbycertainhistoricalandsocialbackground.Supposedtherehadnotbeensomanyrulesandbarriersagainsttheirpursuitoflove,itisnotnecessaryforthemtoexperiencedreamsmixedbothsweetandbitterness.Wecandrawapreliminaryconclusionhere:DuandHermiacannotachieveemotionalandsexualsatisfactionandcannotchangethesituationbyvirtueoftheirownstrengthinreallife.Therefore,theauthoradoptsdreamsasillusoryscenestomaketheirdemandsatisfied.In1899,238yearsafterthedeathofShakespeareandTangXianzu,SigmundFreud,anAustriapsychologist,publishedTheInterpretationofDreams.Heanalyzedtherelationshipbetweenthedreamandreality.Hisconclusioncanbeusedtoanalysisthepsychologicaloriginofthedreams.AccordingtoFreud,ifpeopledesirecannotbesatisfiedinreality,peopletendtoturntoillusionorfantasytogetemotionalreliefordesiresatisfaction.Therefore,emotionaldepressioninrealityisthelogicalresourceofdreamsintwoworks.Itisemotionaldepressionofsexandloveinreallifethatcatalyzestheproductionofdreams.12 InFreud'sview,alldreamsareformsof-fulf川mentwishFreud53)——attemptedbytheunconsciousnesstoresolveaconflictofsomesort,whethersomethingrecentorsomethingfromtherecessesofthepast.Peoplehavealotofindividualunconsciousnesssuppressedunderthethresholdofconsciousness.Theunconsciousnessisincontrolofman'sprimitiveinstincts,whichisparticularlystronglyinfluencedbyuniqueenvironmentalstimuliplayoccurinandimpulsesofdesiremainlybasedonsexualinstinct.Althoughthepersonaldesireonlyexistsinthesurfaceoftheunconsciousness,itimpactsgreatinfluenceoneachindividual.Intheprocessofpersonalgrowth,thisuniquenaturaldesiretobetransformedinto“memory'gradually.Itisdeeplyrootedinemotionsandwon'tgoawayforever.Freuddefinesitas“complex”.Itexistsfirmlyinthepeopleheartandbreakthroughmindcontrolofconsciousnesswhenthereisappropriatestimulationinoutsideworld.Therefore,thecomplexisapsychologicalforceofdomination.Itcontrolspeople'sbehavior.Complexinpeople'sheartpushesunconsciouspsychologicaldesiretoreality.Butconsciousnessalwaysdoingeverythingtoprevent.Soasacompromise,thecomplexhastoturnitselfintoafantasyordreamtomaketherepressedinstinctualunconsciousnessactivitiesgettingsymboliccontent.Therefore,thedepressionofloveandsexinreallifepromotesthedreamsofDuandHermia,Itisadaydreaminginwhichhumaninstinctofdesireinfantasiesgetdeformedsatisfaction.Therearemanykindsofbarriersagainstpeoples'fulfillmentofwishes,butdreamarenotlimitedbytime,location,orrulesofreallife.Duisintheconfusionthattheirfreedominloveandsexarechainedbythesociety.Sotheauthorsputtheminto川usoryconditionstoreachemotionalreflexandsatisfaction.theycannotexpresstheirloveandpassioninreallife,theirdesireforloveandsexweredepressedbythesecularrulesandgraduallybecomethe“complexinthebottomoftheirheart.Sotheauthorsprovidethemforadreamlandwheretheir“complexoutbreakviolently.Theyexpressedtheirpassionandlovefreelyindreamlandandpursuitforlovefreedombravely.1.1ProcessofTwoDreamsTheprocessofthetwodreamsisnotonlytheprocessofself-liberationofprotagonistsbuttheconflictionprocessbetweennewthoughtsandoldethics.InThePeonyPavilion,itwasacomplexprocessforDutogainmarriagefreedom.Du'sconsciousdesiregotsymboliccontent.Therefore,Du'slove,dream,death,resurrection,andherhappyendingwereallfantasticalcompensationofreality.TheprocessofthedreamitselfwasalsotheprocessinwhichDustrugglesagainstthesecularethicsandtogainhermarriagefreedom.InthedreamlandofMidsummerNightsDream,theyoungpeopleshowtheirenthusiasmandpassion.Youngpeoplebrokeoffthelimitationofsecularworldsuccessfullyhere.Afteraseriesoffascinatingexperiencesfiledwithhappinessandbitterness,12 BothofDuandHermiafacedwithconflictionbetweenmarriagefreedomandsecularrules.Butatfirsttheywerenothingbutrebelliousintheeyesofothers.Theycouldnotexistwithouttheprotectionofpaternityintheeyesofothers.However,theybeganthepursuitofloveindreams.Theybecomebravegraduallyinthisprocess.Whentheycamebacktoreality,theyarenolongergirlswhocanbejustidentifiedasrebelliousordifferent,theyaretotallyindependentwomanwhohavetheirownjudgment.AtthebeginningofthePeonyPavilion,Duwasarestlessgirlineyesofotherswhoisboredfromthearrangedandabstinentlife.However,ifshedidnotencountertherightmaninherdream,maybethemostrebelliousthingshecandothewholespanoflifewasjustdroppingfromclassandslippingtothegarden.However,thedreamawakesherdesireoflove,andthenshesparednoeffortsinherpursuitoflovefreedom.InthPeonyPavilion,Truelovecouldevenconquerthebarrierbetweenlifeanddeath.Herdeathandresurrectionwerethetransformationnotonlyherfatebutalsoherspritsandsoul.Afterherresurrection,herfatherthreatenedherthatifshewantedtopersistherrelationshipwithLiu,shewouldbeexpelledfromfamily.Thenshewouldratherabandontherelationshipswithparentsthangiveupherlove.Itreflectedherresistanceagainstfeudalethicsofthreeobedienceandthefourvirtues”.Herehercharacteristicsareperfectlyaccomplishedbyherexperienceofdream.ToHermia,theexperienceindreamlandisthecatalystofherself-independence.Furthermore,ithelpedherbefreefromtheconflictionbetweenlawandlovefreedomwasirreconcilable.Ifshedoesnotescape,shewouldhavenochoicebuttomarryamanshedoesnotlove.Butifherplanofescapewasexposed,bothsheandherloverwouldbepunishedharshlybythelaw.Theirromanticrelationshipmaybecameatragedyeventually.However,theauthormadeherbreakintoafairyforestthatwasnotlimitedbysecularlaws.Herescapetotheforestisakindofescapefromreality.Severalcharactersclaimedthattheyhadexperiencedveryfantasticdreams:eventhefairiessingasong:Andnow,ifanyoffendedwiththisstoryoffairiesandtheirtricks,theyhaveonlytothinkthattheyhavebeenasleepanddreaming.AndIhopenoonewillbehardtopleaseastobeoffendedwiththispretty,harmlesMidsummerNights'Dream.Wecanseethatafterexperiencingtheirdream,therearetwodialogsamongthefouryoungpeople:1.Hermia:Oh!Lysander,thedoingsofthenightaretoostrange!Doyoustilllovemeornot?Lysander:Iamstillcrazyaboutyou!ButIdreamedIloveHelenahowmad!Hermia:Ay!Ihadthesamedream!2.Helena:Me,too.NowIjustwonderifDemetriouslovemeasinthedream?12 Demetrious:Helena,Ipromise,nowallmyfaithandallvirtueofmyheartisonlyyou!Idowishyou,loveyou,longforyou,andwillforevermorebetruetoyou.(Shakespeare155)Intheprocessofherdream,Hermiaoncefeltheartbrokenandpuzzledbecauseoftheawkwardsituationcausedby“loven-idleness“owever,afterthedream,shehavemorefirmfaithontheirromanticrelationship.Then,Herimatakeshercouragetopersuadeherfatheragain.Hereshebecomesawomanwithself-dignityandindependentjudgments.ThustheprocessofHermiasdreamisalsotheprocessinwhichherspritsandindependentcharacteristicsaredeveloped.1.1ResultofTwoDreamsSofar,thispaperhasaccomplishedtheanalysisoftwodreams'logicalorigin.Thenherecomesanewissue:inwhatwaycanthetwodreamsbeidentifiedasusefulandmeaningfulinthedevelopmentofthewholestory.Itcomestotheanalysisofspritsreflectedbytheresults.ThePeonyPavilionandMidsummernight'sdreamshouldbeclassifiedinthecategoryofcomedy,buttheyalsohadsomecomponentsoftragedy.BothHermiaandDuLinianghavetoexperiencepainanddanger.Forexample,DuLiniangexperiencedthebaptismofthedeadtheresurrection.Thepainandstrifeshowedherdissatisfactionontherules.InTheMidsummernight'sdreamtherewasacruelpieceoflawthatcreatesatmosphereofdepression.Bothofthetwodreamsreflectedtheprocessoftheawakeningofpeople-consciousnessandspritofself-development.ForDuandHermia,theygotthesatisfyingresultsaftertheexperiencesfilledwithaseriesofstruggleandpain.However,thesatisfyingresultsofprotagonistswerenotonlytheresultsoftheirmarriageandlife.Theywerealsotheresultoftheirselfliberation.ThePeonyPavilionandaMidsummerNightsDreamshowpeopletwowomenssimilarexperienceindifferentsocialbackground.Dreamwasnotonlytheresultoftheirdissatisfactionoflife,butalsothemotivationoftheirawakening.Theirrebelliousinspirationgaverisetotheirsuspiciononrulesandlaw.Theunchangeablerealitywascatalystofdreams.Thefantasticexperiencesindreamswereencouragementthatpromotestheirawakeningofself-consciousness.Liberationofhumanityandthepursuitoffreedomwerenoteasy.However,theprotagonistseventuallybrokethechainsandgotsatisfyingresults.Therefore,thevictoryofDuandHermiaalsorepresentedthevictoryofideologicalliberation.2TheDifferencesoftheDreamsintheTwoPlays2.1ConflictsbetweenFreedomAndSecularRulesBothofthetwoworksreflecttheconflictsbetweenmarriagefreedomandsecularrules.Buttherearealsodifferencesintheformofconflicts.AtthebeginningofthePeonyPavilion,therewasnoobvious12 conflict.Duwasboredoflessonsarrangedbyherparents.However,insteadofrejectingthendirectly,shechosetoappreciatethebeautifulsceneryinthegardentoreliefherself.IfshedidnotencounterLiuMengmeiinthedream,maybeshewouldacceptherarrangedfateeventually.Therefore,theconflictbetweenmarriagefreedomandsecularethicswasnotfullypresentedatthebeginning,itbecamemoreandmoreacutegraduallyasthestorydevelopedstepbystep.However,inaMidsummerNightsDream,thisconflicthasbeenshowedfullyanddirectlyatthebeginningwithoutagradualprocess.Hermia'sfreedomwashamperedbyrules,soshedecidedtoescapewithherloverimmediatelywithoutanyhesitation.Therefore,comparedwithDu,Hermiaself-consciousnesswasmorefirmatthebeginningofstory,soherprocessofself-developmentwasshorterandmoredirect.1.1AccomplishmentofTheSatisfyingResultsBothofthetwoworkshavereachedsatisfyingresultsafterthesettlementoftheconflict.However,thewaystheauthorsusedtosettletheconflictisdifferent.InthePeonyPavilion,theconflictbetweenmarriagefreedomandsecularruleshasturnedintotheconflictbetweenDuLiniangandherfather.DuwasforcedtoabandonherrelationshipwithLiuMengmei,orshewillbeexpelledfromherfamily.Facingthisdelima,Dufirmlychoseherlove.Whenhermarriagecouldnotbepermittedbyherfamily,sheeventuallyturnedhelptotheemperorafterinnumerablehardships.Itwastheemperorpermittedhermarriageeventually.Therefore,whatsettledtheconflictwastheimperialpower.InaMidsummerNights'Dream,thesettlementofconflictwasmixedwithmoreaccidentalfactors.TheconflictbetweenHermiaandherfatherhasbeenweakenedasHermiaarrivedthemagicalforest,thenallthestoriesherewereinfluencedbyamagicalflowernamed“loven-idleness,whichleadedtoaseriesofastrangecombinationofcircumstances.Furthermore,allthetroubleswereeventuallysettledbyfairieswithmagicalpower.2ConclusionsBothTangXianzuandShakespearewereinanagewhichwasfilledwitheconomicdevelopmentandsocialtransformation.Therefore,therewastheconflictbetweenoldethicandthenewsocialideologicaltrend.Asthesupportersofmarriagefreedomandideologicalliberation,theyexpressedtheiropinionsbymeansofthelanguageandactionsoftheprotagonists.DuandHermiaweretherepresentativesofwomenwithself-independenceconsciousnessandrebelliousspirit;theyweredepressedbytherealitysotheyrealizedtheirpursuitofloveindreams.However,afteraseriesoffascinatingexperiences,theycamebacktothereallifeeventuallyandgottheirfreedominloveandmarriage.ThevictoryofDuandHermiaisalso12 thevictoryofideologicalemancipation.Basedontheformerresearch,thispapermakesacomparativestudydreamsinthetwoworksonthesimilarlogicalresource,process,andresultsofthem.Bothofthetwoworkshavewonuniversalpraiseintheirowncountries,butthecomparativestudyremainstobedeveloped.Furthermore,themainperspectiveofformerresearchisthedifferencesofthistwoworks,butthispapercarriesoutstudyfromtheperspectiveofsimilaritiesofthesetwoworksandputsupsomenewopinions.Therefore,thisstudycannotbedefinedasnonsense.Maythispaperwillprovidereferenceforpeoplewhodostudyonthistopicinthefuture.Therearealsolimitationsinthisstudy.Thefirstisthedesignofthispaper.Themainperspectiveofthispaperisthesimilaritiesoftwodreamsinthetwoworks.Thereforethemaintopicanalyzedanddiscussedisthedreamitself,butthispaperdidnotdogeneralcomparebetweenthetwoworksfromtheperspectiveoftext.Second,thispaperdiscussesthelogicalandpsychologicalresourcewiththetheoryofFreudwithouttheuseofotherstheory.Therefore,thefurtherstudyinthesimilartopiccanbecarriedoutfromtheseperspectives:Thesimilarliteraturedevicesusedbytheauthorstocreatethedreamland.Thestudyoflogicalandpsychologicalresourcesofdreamsintwoworkswithmorekindsofpsychologicalthe12