《Liang Shanbo and Zhu Yingtai》的故事首次出现在初唐梁载言所撰的《十道四蕃志》中，后来在晚唐，张读所撰的《宣室志》中已经有了其故事的大致轮廓：“英台，上虞祝氏女，伪为男游学，与会稽梁山伯者同肄业。山伯，字处仁。祝先归。二年，山伯访友，方知其女子，怅然如有所失。告其父母求聘，而祝已字马氏子矣。山伯后为鄞令，病死，葬鄮城西。祝适马氏，舟过墓所，风涛不能进，问知山伯墓，祝登号恸，地忽逢裂陷，祝氏遂并葬焉。晋丞相谢安奏表其墓曰‘义妇冢’。”一般认为，《梁山伯与祝英台》故事发生的背景是东晋。当时门阀大地主掌权，寒门与士族地主贵族之间不能通婚。出身寒门的梁山伯尽管当上了县令，也不能娶士族的祝英台。从该故事并未对祝英台的男扮女装持抨击态度，以及从后文的二人双双化蝶的结局来看，该内容包含有部分反对儒教三纲五常礼教的意味以及对门阀制度的抨击，大概率为法家地主阶级或寒门庶族地主所作。但是，本故事最后并未直接抨击封建制度以及最后二人身死双双化蝶的想象，也不过是一种软弱的反抗与美好的幻想，体现了该故事创作者的阶级局限性。 之后说回本篇帖子的主角——由中修的影视公司出品的、曾在多个卫视放映并一度登上央视的2007版《梁山伯与祝英台》电视剧。说来惭愧，之所以想要写这篇帖子，是因为我精神空虚及有产阶级恋爱思想的影响，在刷小红书时被所谓的“童年回忆”“凄美爱情”吸引了，最后去看了相关内容淫乐，事后仔细思考其情节，发现十分反动。以下是我自己想到的一些内容，不算什么深刻的批判。关于他们恋爱情节过于冗长，笔者已经没什么印象了。就谈一谈自己有印象的一些情节和人物设计吧。 1.梁山伯形象变化：寒门县令→士族狗腿 原作中，梁山伯是当上县令的寒门地主出身，即令当上了县令，也因为门户之别同封建社会的礼教限制，终究娶不了祝英台，最终忧郁成疾，一命呜呼了。创作者在他的身上寄托了部分当时中小地主普遍受到大地主排挤的不平之情，表达了对于士族的鄙夷态度。但是在这版电视剧中，梁山伯的形象如何呢？ 在该剧中，祝英台出身祝家庄，从种种迹象看祝家为当时的庄园大地主。首先，在原文里，本是祝父催归，该剧却将梁山伯与祝英台婚姻的阻力设定在“祝夫人”的冷漠无情及门户之见上，而祝庄主成了一心盼望女儿幸福的“搞笑老头”，这不得不说是十分荒谬的。在封建社会，女子被儒教的三纲五常束缚，被要求大门不出、二门不迈，父权制社会中，往往是男子拥有财产继承权，拥有一家之主的地位和权柄，祝夫人何以能够越过祝庄主，决定祝英台的终身大事，甚至扬言若是祝庄主要破坏祝英台同马文才的亲事，就要将祝庄主扫地出门呢？这和封建社会女子的实际地位真是天壤之别！其次，编剧将阻力设定在祝夫人身上也是别有用心的，自有阶级社会以来，从来是男子压迫女子，从来是父亲压迫女儿，而这部剧却描绘了爱女慈父与不断迫害女儿的严母，用心何其恶毒。 在剧中，祝夫人为了巩固祝家庄的地位，要将祝英台嫁给太守之子马文才。理由是山上匪寇为患，土匪经常下山到祝家庄的土地上劫掠，需要仰仗太守的军队来保护祝家庄。而这些匪寇，其实上就是当时被大地主侵占田产，生计无着的农民，这点会在后文继续分析。而梁山伯则为了娶到祝英台，向祝夫人许诺，自己做了县令之后，让百姓安居乐业，没有人流离失所，就能从根本上解决匪患，是治本之策。而治标之法，则是组织剿匪。如此一来，梁山伯便从一个寒门县令，变成了为爱甘帮大地主阶级镇压农民反抗的谋士，变成了向大地主阶级投诚不成反被作弄的狗腿。在这里，不由得引出该剧设定的造成梁祝爱情悲剧的“元凶”——谷心莲。 2.谷心莲：背负一切罪名的农家女 在该剧中谷心莲为一农家女，在机缘巧合之下为梁山伯所救，对梁山伯一见钟情。而马太守即将迎娶他的小妾，要为他的小妾修建宅院，强占了谷心莲所在村庄的土地，并对村民进行了屠杀。而谷心莲因咒骂太守，被太守命令官兵在她奶奶的尸体前轮奸凌辱。幸存下来的谷心莲选择和同村剩下的人一同上山，落草为寇，从这里就可以看出这些所谓的不断袭扰祝家庄的土匪的性质——他们都是被豪门士族贵族地主逼迫，被强占土地，走投无路不得不上山反抗地主的破产农民。 而该电视剧在此后对于官兵的胡作非为闭口不谈。却在后文的情节设计中将梁祝悲剧的原因尽数归咎到谷心莲的身上，安排谷心莲使出一系列阴谋诡计。破坏梁祝婚姻逼死二人。在后文的情节中，祝英台的八哥支持梁山伯与祝英台的婚姻。谷心莲深知只要祝英台的哥哥存活一天，祝家庄后继有人，说不定真会成全梁山伯与祝英台，她自己同梁山伯的婚姻便再无指望，于是她同山匪勾结，伪装出被山匪挟持，欺骗祝英台的八哥相救，再从背后捅刀，使得祝英台的八哥伤重而亡。后继无人的祝家庄最终又“迫于无奈”地选择了同太守联姻，以获得庇护。至此，观众的愤恨便都被吸引到了谷心莲的身上——一个曾经为梁山伯所救，却恩将仇报，不择手段地要获得男人、得不到就毁掉的女人身上。为什么谷心莲的设定偏偏是一个农家女呢？为什么偏偏是一个受到士族地主欺压，甚至被轮奸的女性使用这些阴谋诡计呢？从这里，我们就可以看出该版《梁山伯与祝英台》编剧的险恶之处了。他将祝英台这一女子的悲剧尽数归结于女子，在该剧中总是女子迫害女子，总是被压迫的人玩弄阴谋诡计，总是劳动人民心术不正，这是多么颠倒黑白，又是多么荒唐！ 3.黄良玉：对胆敢反抗包办婚姻的恶毒诅咒 该剧的情节以祝英台帮助自己的发小黄良玉逃婚为开始。剧中设定祝英台的八哥爱慕黄良玉，但黄良玉为秦京生的花言巧语所骗，决定同秦京生私奔。实际上秦京生只是贪图黄良玉富家千金的身份，在私奔后，他眼见荣华富贵一朝成空，自己又要去书院读书缺乏金钱，于是他逼迫黄良玉卖身为妓女，为他赚取学费。在黄良玉为他赚得学费后，他眼见自己投机有望，转身抛弃了曾和自己私奔并已经沦落风尘的黄良玉，禁止她同自己见面，认为她是脏东西，警告她不要来干涉自己的大好前程。而沦落风尘的黄良玉又再次偶遇了祝英台的八哥，祝英台的八哥仍然痴情于她，但黄良玉认为自己已沦落风尘，配不上他，虽为他的痴情感动后悔，最终却仍然予以拒绝。至此，该剧编剧的险恶用心又一次在这个情节上暴露无遗了。如果说原本的故事还多少有些反抗封建婚姻制度的意味的话，那么该编剧正是通过这个情节赤裸裸地攻击了女性对封建婚姻制度的反抗，宣扬婚姻应该门当户对、名正言顺，恶毒攻击敢于追求自己爱情违背礼教的人是落不得什么好下场的。到头来黄良玉原先鄙夷的娃娃亲才是真正的好归宿，敢于帮助自己的姐妹反抗包办制度的祝英台，也就成了过于幼稚地将他人推入火坑的刽子手，为许多观众厌弃，称她是只顾追求自己的爱情，破坏别人的爱情。 而以上种种的险恶用心，都被包裹在了曲折婉转的爱情故事的外衣之下。该剧用超阶级的爱情偷运儒教观念，对于劳动人民的反抗进行了攻击、歪曲和污蔑。 在当时想到这些后，我不再对这部电视剧的剪辑及相关内容抓心挠肝了。 【找了一圈没找到合适的封面】
The analysis by the original poster is indeed very insightful. After reading the entire analysis, Gu Xinlian is nothing more than the so-called “romance” novels and “romance” TV dramas popular among the contemporary bourgeoisie, with the villainous female supporting character setting. The widespread popularity of this setting also reflects the bourgeoisie’s reactionary historical idealist view that hates the working people, as well as patriarchal ideas. However, when I was still immersed in the bourgeois literary circle, I came across a saying that previously, the trend was for the domineering CEO to fall in love with the “Cinderella,” but now the popular female protagonists also come from very wealthy families. Although, based on my observations of the bourgeois cultural sphere, there are still quite a few extremely vulgar and reactionary stories about domineering CEOs falling in love with so-called “ordinary women,” I want to ask: why does the bourgeoisie produce these two somewhat different settings (although both are aimed at promoting bourgeois ideas and definitely also involve denigrating the working masses)?
The Cinderella-style plot is meant to deceive small bourgeoisie into believing that “social mobility” is possible, that women can become bourgeois wealthy wives by finding a “Prince Charming” and live a luxurious life. Now, the reason it has turned into “rich girl” is because capitalist society has become even more degenerate; capitalism is too reactionary, and “Cinderella” is completely a joke. Many of these stories involve very obvious bourgeois scumbags playing with women and then abandoning them. Therefore, many petty bourgeois women no longer believe in “Cinderella,” but because they still fantasize about becoming bourgeois, they fall into the trap of imagining themselves as rich girls—believing they can easily live the bourgeois lifestyle and find a “Prince Charming.” In reality, they know full well that they cannot become bourgeois in their current situation, but they still indulge in daydreams for their own benefit. Nowadays, to deceive small bourgeoisie, the bourgeoisie must use even more reactionary plots to numb the petty bourgeoisie, immersing them in illusions they cannot escape from.
I don’t know how much you understand about online literature aimed at male readers, but actually the current trend is that the ideas of petty bourgeois men and women have converged. Male-oriented online literature is nothing more than promoting a set of bourgeois individualism; the protagonist can acquire money, fame, status, women, etc., through various means, transforming from petty bourgeois to bourgeois. However, this also has a developmental process. Initially, these online stories said that the protagonist could become wealthy through “personal struggle,” and that petty bourgeois men only needed “talent” to “work hard” and become bourgeois. But as China’s capitalist society becomes increasingly reactionary, relying on “struggle” to ascend to the bourgeois class is increasingly proven to be a joke, so this set of fallacies can no longer be sustained. Writing such stories becomes too fake. So, these stories changed their approach: instead of saying the protagonist will “struggle,” they say the protagonist is born with a “system,” and as long as they complete some simple tasks assigned by the “system,” they can get various “rewards” out of thin air, and then obtain money, fame, status, women, etc. The implication is that although they are “waste” in capitalist society, with “外挂” (cheat systems), “金手指” (golden finger), they are inherently superior to others—what is called “system flow.” This is essentially like divine power falling from the sky, similar to how the Bible says Jesus Christ is the son of God and can get whatever he wants, which is nonsense, but only this way can it explain why petty bourgeois can still gamble successfully in such a reactionary capitalist society. So even if petty bourgeois men know this is all fake, they are still obsessed with it, just like watching it because they want to become bourgeois so badly that they even like this kind of thing.
There are also some “transitional” types in between, such as the “rebirth stream,” which means that the protagonist is “reborn” from the future into the past, allowing them to “predict” various things in advance, being more perceptive than others, and thus able to successfully speculate and become the bourgeoisie. This already counts as supernatural or absurd, but at least it is not as absurd as the “system stream.” The level of absurdity further increases with the so-called “apocalypse stream,” which suggests that since small capitalists cannot succeed in speculation within the existing capitalist society, the only option is to bring about a “doomsday,” causing the current capitalist system to collapse immediately, and then the small capitalists can return to the era of free capitalism to “compete” again, thus enabling successful speculation.