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汉语拼音：

（1550—1616）明代戏曲家。字义仍，号海若、若士，别署清远道人，江西临川人。曾任南京太常寺博士等职，后辞官归家。著有传奇《牡丹亭》《紫钗记》《南柯记》《邯郸记》等。《牡丹亭》又名《还魂记》，是一部反对封建礼教，争取婚姻自主，具有民主思想的优秀剧作。在戏曲理论上主张革新，反对拟古和拘于格律，诗文有《红泉逸草》《问棘邮草》《玉茗堂集》等。

• Then, in this sense, his experience there prove to be a blessing in disguise for Chinese literature.

  也许，汤显祖的南粤之行，乃是中国文学史上的一件幸事。

• Meanwhile, Tang Xianzu was also a great poet and his poetry anthologies have been handed down.

  汤显祖同时还是一位杰出的诗人，他的诗歌选集也被一代代流传下去。

• Peony Pavilion, the representative work of Tang Xianzu, is also the representative work taking love as the subject matter in Kunqu opera.

  牡丹亭，汤显祖的代表作，同时也是昆曲中以爱情为题材的代表作。

• "Legends of Purple Hairpin" written by Tang Xian-zu can be named the first dream of the "Four Dreams of Linchuan" .

  汤显祖创作于南京时期的《紫钗记》，堪称“临川四梦”第一梦。

• Zai Mei Bian, the first track, was inspired by the Kun Opera The Peony Pavilion, a masterpiece by Yuan Dynasty dramatist Tang Xianzu.

  第一首歌《在梅边》的灵感来自元朝剧作家汤显祖的昆曲-《牡丹亭》。

• Tang Xianzu, a playwright of Ming Dynasty in 16th Century, was the coeval of Shakespeare of Britain.

  16世纪明代的汤显祖与英国的莎士比亚是同时代人。

• Tang and Shen made they own contributions in different aspects of the scholarization, standardization and dramatization for drama.

  汤显祖、沈璟在不同的方面对戏曲的文人化、规范化、戏曲化做出了自己的贡献。

• Ann: The Peony Pavilion, the writer is Tang Xianzu, a great playwright in Ming Dynasty of China.

  《牡丹亭》，作者是汤显祖，中国明朝一位伟大的剧作家。

• Tang Xianzu was a poet first of all, and then an ideologist and dramatist.

  汤显祖首先是一个诗人，然后才是一个思想家、戏剧家。