Appreciation of a Fine Essay | Tang Xianzu and the Four Dreams of Linchuan (Part One)

A third-generation inheritor of the “Chuan” lineage in Kunqu Opera, and a National First-Class Actor at the Northern Kunqu Opera Theatre.

Representative productions include the Jin‑style adaptations of “The Peony Pavilion,” “The West Chamber,” and “The Moon‑Worshipping Pavilion”; the scholarly version of “Lianxiang Ban”; the newly adapted modern Kunqu opera “Tao Ran Qing”; and the excerpt plays “Liao Du Geng: Inscription on a Song” and “A Thousand Li to Escort Jingniang,” as well as “The Chain Scheme: The Small Feast” (in which he portrayed Lü Bu), among others.

She is not merely the quintessential “guimen dan” in the eyes of audiences—she has brought to life Cui Yingying and Du Liniang. With a heritage of Kunqu opera spanning a century, she harbors a love for this art form that runs deep in her very bones. Her writing is both elegant and imbued with wit and a keen sense of the times, earning her legions of devoted fans and the acclaim of being a “woman of exquisite heart and eloquent tongue, a gifted talent of the Kunqu world.”

The “Four Dreams of the Pavilion of Jade‑Flute,” penned by the great Ming‑dynasty dramatist Tang Xianzu, comprises “The Story of the Purple Hairpin,” “The Peony Pavilion,” “The Dream of the South Tree,” and “The Dream of Handan.” Each of these four works features extensive dream sequences, which is why they are also known as the “Four Dreams of Linchuan.” Dreams serve as a medium that most vividly reveals the human subconscious. In fantastical, absurd, yet enchanting and deeply moving dreamscapes, Tang Xianzu employs his most poetic prose to convey the myriad facets of human life, profound reflections on existence, and the interplay of good and evil within human nature.

Wang Siren, a Ming‑dynasty literatus who lived in the same era as Tang Xianzu (August 26, 1575 – October 30, 1646), shared several striking parallels with him. Both came from scholarly families, achieved early success, and left notable marks during their official careers; yet, owing to their forthright natures, their paths in government were fraught with setbacks, marked by repeated promotions and demotions. Though twenty-five years younger than Tang Xianzu, Wang’s similar life experiences enabled him to grasp the profound depths of Tang’s “Four Dreams of Linchuan.” For instance, when articulating the overarching spirit of these four works, he remarked: “‘Handan’ is the realm of the immortals; ‘Nanke’ is the Buddhist path; ‘Zi Chai’ embodies the chivalric ideal; and ‘Peony Pavilion’ is love itself.” Though each summary consists of only two characters, it captures the essence with remarkable precision.

Tang Xianzu

“The Story of Handan” tells of Lu Sheng, who is consumed by ambition for fame and fortune yet often feels thwarted in his aspirations. One day, he “happens to meet” Lü Dongbin—sent to guide him toward immortality—at a small shop west of the Zhaozhou Bridge in Handan County. Lü presents him with a porcelain pillow. In his dream, Lu marries a beautiful wife, passes the imperial examination as top scholar, achieves great military and civil accomplishments, suffers slander and exile, is later vindicated, rises to the rank of prime minister, enjoys wealth and honor, and ultimately dies a long and prosperous life—only to awaken. By then, the yellow millet rice at the inn has yet to be cooked. Having experienced decades of splendor in his dream, Lu suddenly attains enlightenment and departs lightly on the wings of Lü Dongbin. This legendary tale of “immortal transcendence” first appears in Shen Jiji’s Tang‑dynasty novella, “The Pillow Dream.” Later generations came to use the phrase “Handan Dream” to denote something illusory, and the idiom “a dream of yellow millet” likewise originates from this story.

This work, which uses dreams to illuminate the meaning of life and is deeply imbued with intellectual depth and philosophical insight, has received high praise from numerous critics, including Lü Tiancheng, a renowned dramatist and theater critic of the late Ming dynasty, as well as Huang Zhouxing of the Qing dynasty.

“The Three Drunkennesses” from “The Dream of Handan,” preserved to this day, boasts a fresh and melodious vocal style and is a celebrated excerpt frequently performed by aficionados. The Shanghai Kunqu Opera Troupe has restaged and presented the full-length work, with the renowned Kunqu master Teacher Ji Zhenhua in the role of Lu Sheng; his performance, deeply grounded in everyday life, was truly outstanding.

“Complete Commentary on the Tale of Handan, Volume II,” by Tang Xianzu

“The Story of the Peach Blossom Fan” recounts how, during the Zhenyuan era of the Tang dynasty, Chunyu Fen, a native of Dongping, fell into a drunken sleep and dreamed himself into the Kingdom of Huai’an, where he was even chosen as a son-in-law to the imperial family. Later, he served as governor of Nanke and achieved remarkable administrative success. After the death of his wife, Princess Jinzhi, Chunyu Fen was summoned back to the palace and elevated to the rank of Left Grand Chancellor. At the height of his power, he indulged in rampant lust and extravagance, only to be ultimately banished. Upon awakening, he found himself staring at a vast ant hill beneath a locust tree, realizing then that the Kingdom of Huai’an was but an ant‑world. Struck by this revelation, Chunyu Fen came to see through the illusions of life, and the Zen master Qixuan seized the opportunity to lead him into monastic life. Though Tang Xianzu portrays a dreamlike realm, the work subtly alludes to real‑world events. All beings, after all, are no more than ants; and the court of Huai’an is rife with the vileness of sycophancy, arrogance, and debauchery. By employing a dreamlike, allegorical style to narrate and satirize, the tale blurs the line between reality and illusion, provoking deep reflection. For this reason, Wang Siren hailed it as “Buddhist in spirit.”

The two scenes “Flower Report” and “Jade Terrace” from “The Southern Dream” continue to be performed on the kunqu stage. “Flower Report” recounts how the Fourth Prince of the neighboring state of Tanluo dispatches spies disguised as flower sellers to Huai’an Kingdom, gathering intelligence on Princess Jinzhi, the wife of Chunyu Fen. The little ant first carries a flower basket and later wields a command flag—nimble and endearing, with equal emphasis on singing and acting—earning it the nickname “the female version of ‘Inquiry and Reconnaissance.’” Meanwhile, “Jade Terrace” depicts Princess Jinzhi taking refuge at the Jade Terrace to escape the summer heat, only to find herself besieged by the Fourth Prince of Tanluo, who seeks to seize her. Upon hearing the news, Chunyu Fen hurries back from Nanke County, defeats the Fourth Prince, and secures the princess’s release. In both scenes, the characters’ costumes, facial makeup, and stage movements are fashioned in the likeness of an ant, lending the performances a distinctive character.

“Complete Catalogue of the Play ‘The Dream of the Red Chamber’” by Tang Xianzu