明代成化、弘治年间南曲之盛行与曲文学创作之复兴  

The Prevalence of Southern Drama andthe Revival of Literature During the Years of Chenghua and Hongzhi in Ming Dynasty

作　　者：赵义山[1] 

机构地区：[1]西华师范大学文学院,637002

出　　处：《文艺研究》2005年第12期92-100,共9页Literature & Art Studies

摘　　要：学界论曲,从无人将成化、弘治作为一个完整的发展阶段加以研究,也从无人将这一阶段的戏曲、散曲结合观照。因此,成弘时期作为明代曲文学复兴的一个完整阶段以及阶段性特征便隐而不彰。本文认为,成弘时期是明代曲文学复兴的时期,成弘间曲文学的复兴,以世风奢华、家弦户诵的享乐之风盛行和文人主体精神的高扬为前提条件,以文人重视南曲创作为重要标志,以戏曲散曲共兴、南曲北曲并行且南曲盛于北曲为基本事实。成弘间曲文学的复兴与其后正德、嘉靖年间曲文学的鼎盛有不同的阶段性特征,将这两个阶段分别研究,更能清晰地见出明代曲文学发展演变的历史脉络。No one in the field of drama studies has ever tried to take the period of Chenghua and Hongzhi as a stage in the development of drama,neither did someone take a glimpse into this period for the combination of drama and Sanqu,therefore,the Cheng-Hong period as a stage of the renaissance of drama literature has been neglected. This paper believes that the renaissance of Ming drama literature during the Cheng-Hong period was presupposed by the prevalence of popular entertainment and the elevation of humanist spirit. The period was characterized by literati’s emphasis on southern drama,though the co-existence of Sanqu and poetic drama in both south and north was also a fact that cannot be overlooked. The renaissance of this period is distinguished from those later in the years of Zhengde and Jiajing,therefore to take them as separate studies is to map out a clearer line of the historical development of drama literature of Ming Dynasty.

关 键 词：明戏曲 明散曲 明传奇 南曲 北曲 成化 弘治 

分 类 号：I207.309[文学—中国文学]