In my early years, I read Yangzhou Huafang Lu, Tokyo Menghua Lu and Wulin old stories. I like them very much. I like them to be written in a way of "listing", and write simple scenery information in a sense of rhythm and poetry. I prefer the sigh hidden behind them. I thought the TV drama "Meng Hua Lu" was a story derived from this. Later, I learned that Guan Hanqing's play was used as the starting point of the plot, and I caught up with it one by one. After reading the Meng Hua Lu, I also read the relevant comments. My feeling is that some people think that the Meng Hua Lu is quite out of step in concept. In fact, the Meng Hua Lu is not without origins. Its narrative and values are inherited from southern operas, such as Yue opera, Huangmei Opera and later world TV dramas, as well as dramas such as the legend of the new white lady. The core of southern opera is "love culture". Love and worldly feelings are the focus of the story. The dream of China comes down in one continuous line with this tradition. However, our mainstream culture pays more attention to big talk, and imperceptibly accepts the more important consciousness of this grand topic. Once a story is discussed and described in more space, it has been ranked second in people's minds. At first, the audience thought that there was also a grand topic in "the record of the dream of China", especially in terms of women's life, but "the record of the dream of China" actually did not have such an appeal, which should not be the task of the play. Whether it's a person or a play, in fact, they all have their own tasks. Just complete their own tasks. However, since 2021, there has been no phenomenal and universally agreed works in the TV drama market, which makes people have expectations beyond what a TV drama should undertake for the description of gender issues in the dream of China. Under this expectation gap, many problems have been magnified. The love model of zhaopan'er and guqianfan in Menghua Lu is based on people's desire for safe love. The ancient costume plays created by modern people actually have a foothold of the times. They seem to be ancient stories. In fact, all places are saturated with modern thinking and aesthetics. To put it bluntly, all ancient costume plays are modern plays. The so-called ancient times, if presented as is, no one can accept it. Zhaopaner, sun Sanniang and song yinzhang all experienced emotional setbacks. These setbacks seemed to have occurred in ancient women, but if they were changed to today, they would be completely established: domestic violence, identity fraud, concealment of premarital debts, family barriers, class crossing and economic considerations. Sun Sanniang was even abandoned by her husband and son at the same time. This design has very strong practical significance. All these frustrations include all the safety problems that women may encounter in marriage and love. Zhao Pan'er and other women did not start their love from a blank sheet of paper, but began to rebuild their lives from a frustrated state. Therefore, they represent a kind of social policy of mature women and their outlook on love. The frustrations they have experienced have led them to adopt different strategies when facing male suitors. They will not take the initiative or passivity. More importantly, before confirming the relationship, they will spend more time looking at each other, leaving room for themselves and the other. This is why guqianfan and zhaopaner did not enter the theme at the beginning, and were not even attracted by each other's appearance. The way they get along is actually the way that mature women expect to get along. They all show appropriate standards, and even deliberately create some thresholds and tests. They know that they have used some strategies, and they also know that the other party knows that they have used strategies, but both sides hope that the other party can see it. The honesty of the two people after confirming the relationship is also a strategy to break the previous barriers. This strategy is a way for mature people to identify each other. In short, security is greater than passion, and the future is better than the present. This kind of reconstruction, these female love strategies, can only happen in modern times. Ancient women did not have these choices. Even for modern women, the possibility of rebuilding their life, especially their love life, is not unknown, but it is very small. Between this expectation and reality is the dilemma of modern women. Gu Qianfan is affectionate, gentle and implicit. He is clearly an official in the rising stage. He holds power in the power world, but everywhere he takes "emotion" as the driving force of life, takes "emotion" as the core, and places emphasis on his lover. He not only cares for and cares for his lover, but also gives close attention to her friends. This is not the state that men in officialdom should have in history, or even the state that Chinese men would have. This is the state of an ideal man. His role setting is similar to the "female students" in Yue opera, which is a less aggressive and female friendly role. This kind of ideal male is actually an ideal model only available in modern and contemporary society. In order to make the male identity of this de facto "female student" less obvious, the script gives him some special attributes, such as the descendants of senior officials (external power) and the identity of a cruel official such as "living hell". These identities are actually the cover of his "female student" identity. This is not the ancient view of men, but the expectation of modern women for men. "Meng Hua Lu" shows a kind of classical love, which has new ideas but does not deviate from the ancient settings; In terms of ancient settings, it analyzes modern issues, which is the need for the rationality of the story and the needs of mature female audiences. Therefore, although women are the main audience of the dream of China, men might as well take a good look at the play to understand what modern women desire, what modern women expect, and why they put this desire in TV dramas and online articles. I watched "Meng Hua Lu" quite late. I didn't start watching it until the tenth episode, so I read a lot of comments first. According to the comments, I thought this was a sweet pet story or a female friendship drama, but when I really saw it, I found it was not at all. "Meng Hua Lu" is a love story based on love, but in fact it is cross type. The first five episodes basically used up the plots and characters of Guan Hanqing's original work, and the rest were all original plots. In order to enrich the plot, Gu Qianfan's suspense line, officialdom struggle line, hat demon and other plots are added, which are basically original stories. In addition, the details related to the official system, political structure, diet, tea ceremony, clothing, music, profession, trade, etc. of the Song Dynasty can also stand consideration. Moreover, these background knowledge is not simply embellished, but as the motivation of the plot and an important part of the plot driving force. It is very difficult to do this. For example, after a successful performance, Hua Kui Zhang won a reward for riding a tall horse in colorful clothes. It was Liu Jiuguan who led her horse (no doubt alluding to Liu Yong). In addition, the impact of the "hat demon" incident on the political situation at that time, the potential crisis of southern trade, and so on. Such details must not rely on pure imagination, but can be created on the basis of being very familiar with the life and scenery of the Song Dynasty. The intention of these details has accumulated the rich sense of "Meng Hua Lu". Although the love story is the core of the menghualu, it also integrates the practices of other types of dramas, alludes to some characters and events in Chinese history, but makes adjustments, and integrates with the setting of the menghualu and the main story. After all, there are more than 600000 words in a 40 episode play, even if it is a relatively simplified script. It is impossible to sustain a love story. After Zhao Pan'er arrived in Tokyo, there were more and more social stories. The tense case settlement and struggle, and the love and Entrepreneurship of four beautiful women contrast with each other and form an interesting contrast. Therefore, we do not have to focus on certain points, nor do we have to focus only on the love line. We can take what we need and assemble an ancient world and an imaginary Song Dynasty in our own feeling clues. (outlook new era)