论汤显祖归隐临川后的戏曲创作  

On Tang Xian Zu's Traditional Opera Creation after his Return to Lin Chuan

作　　者：邹自振[1] 

机构地区：[1]闽江学院中文系,福建福州350108

出　　处：《龙岩学院学报》2007年第4期8-11,共4页Journal of Longyan University

基　　金：福建省教育厅社会科学研究项目<汤显祖大传>(JA0412750)

摘　　要：汤显祖于万历二十六年(1598)弃官回临川后潜心于戏曲创作,他的四部剧作有三部完成于这一时期。如果说《牡丹亭》在情与理、理想与现实上,陷入了某种程度困境的话,那么在《南柯记》、《邯郸记》中,作者又陷入了入世与出世的矛盾与痛苦之中。从汤显祖退隐后的戏曲创作来考察,可以认为他将自己的灵根慧命、戏曲人生推向了辉煌的巅峰。In the 26^th year of Wan Li in Ming Dynasty （in 1598）, Tang Xian Zu resigned and returned to Lin Chuan when he devoted himself to traditional opera work. Three of his four opera works were accomplished during that period. In regard to ＂The Peony Pavilion＂, if the writer was engulfed in a predicament about heart and mind or ideal and reality in it, he was engulfed in great contradiction and misery about whether to enjoy the pleasures of life or to leave the vanity of the world in The Nanke Dream and The Handan Dream. Through our study on Tang Xian Zu＇s traditional opera creation after his retirement, we believe tha his intelligence and his operatic life were pushed forward to a pinnacle.

关 键 词：汤显祖 《牡丹亭》 《南柯记》 《邯郸记》 创作 

分 类 号：I207.37[文学—中国文学]