在“梦”与“魂”之间——《倩女离魂》和《牡丹亭》比较研究  

Between "Dream" and "Soul"——On the Comparison of "Qian-nu's Soul Fleeing with Her Lover" and "Peony pavilion"

作　　者：欧俊勇[1] 

机构地区：[1]揭阳职业技术学院中文系,广东揭阳522000

出　　处：《东华理工学院学报（社会科学版）》2007年第3期206-210,共5页Journal of East China Institute of Technology

摘　　要：元杂剧《倩女离魂》和明传奇《牡丹亭》,有许多相同的地方,最突出的是借灵魂意象来实现女主人公对礼教的叛逆和对爱情的追求。两部作品中的魂都是主人公在极度压抑人性的环境中的寄托和反抗,是主人公二重人格的体现、本我冲动的外化形式和情欲宣泄的载体;灵魂意象的深刻内涵就是,灵魂成为以情反礼的有力武器;两部作品出现的梦意象是魂意象的补充,梦体现了魂的欲求,由魂的活动引起的梦是主人公愿望的达成,魂与梦在本质上是相同的。The yuan Dynasty＇ s poetic drama ＂Qian-nu＇ s Soul Fleeing with Her Lover＂ and the Ming legend ＂Peony Pavilion＂ have many points in common. The most prominent one is to realize the heroine＇ s rebel against feudal ethics and pursuit of love by taking advantage of the soul image. ＂The soul＂ of the two works is the reposing and revolt under the circumstance of constraining human natureand the carrier of the heroine＇ s double personality, the outside form of the ego impulse and the draining off of the passion;The profound connotation of the soul image is that the soul becomes a powerful weapon of counter-ritual with sentiment;the ＂dream＂ image of the two works is the supplement of ＂the soul＂ image , ＂the dream＂ has manifested ＂the soul＇ s＂ desire ; ＂the dream＂ caused by the ＂soul＂ activity is the realizing of the heroine＇ s deire. ＂The soul＂ and ＂the dream＂ are the same in nature.

关 键 词：元杂剧 倩女离魂 郑光祖 牡丹亭 汤显祖 

分 类 号：I206.2[文学—中国文学]