莎士比亚的《哈姆雷特》与汤显祖的《牡丹亭》都体现出凋零美学的特征。前者的墓园景和后者的花园景都弥漫着死亡、记忆或情感的气息,并因记忆环境或梦境而变得立体丰满;奥菲利娅和杜丽娘这两位女性也是凋零美学的完美阐释。两部作品体现的凋零美学都与其时代背景和文化背景紧密相关,包括欧洲的黑死病、宗教改革和记忆术,以及明代“至情”说的兴盛。 Shakespeare’s “Hamlet” and Tang Xianzu’s “Peony Pavilion” all reflect the characteristics of withered aesthetics. The former cemetery landscape and the latter’s garden view are filled with death, memory or emotional atmosphere, and because of the memory environment or dreams and become three-dimensional fullness; Ophelia and Du Li Niang these two women is also the perfect interpretation of aesthetic beauty . The aesthetics of witheredness embodied in the two works is closely related to the background and cultural background of the times, including the black death in Europe, the religious reform and memory technique, and the flourishing flourishing of the Ming Dynasty.