明代曲学中的情趣论  

The Dramatic Aesthetics in Ming Dynasty

作　　者：祁志祥[1] 

机构地区：[1]上海政法学院研究院国学所,上海201701

出　　处：《辽宁大学学报（哲学社会科学版）》2015年第4期148-153,共6页Journal of Liaoning University(Philosophy and Social Sciences Edition)

基　　金：国家社科基金项目"中国古代美学史的重新解读"(05BZW010)

摘　　要：明代中后期,戏曲美学界发生过本色论、情趣论、折中论的论争。其中,情趣论以汤显祖为代表,崇尚不拘理法之"至情"和"趣味",主张为了戏文的"意趣神色",传奇可写虚构之情,"因情成梦,因梦成戏","不妨拗折天下人嗓子"。后来王思任、茅元仪、茅暎等人加以声援和继承。如茅氏兄弟声称:"事不奇幻不传,辞不奇艳不传。"情趣论的曲学主张既有合理之处,也有片面之处。作为明代曲论三派之一,明代情趣论的曲学主张具体是怎样的?得失如何?试加检讨甄别。In the late Ming Dynasty, there was a debate on theory of the innate characters, the interestlettered and the compromising. Among them, as a representative of theory of the innate characters, Tang Xianzu advocates that emotion and fun is more important than temperament and rhythm. In his opinion, fictional emotion could be written in order to perform its charm and thoughts. Later Wang Siren, Mao Yuanyi and Mao Ying endorsed and inherited Tang＇s theory. We can find both reasonable place and one-sided place in theory of the innate characters. This paper tries to add a review and a screening.

关 键 词：情趣派 汤显祖 王思任 茅氏兄弟 张琦 

分 类 号：I207.37[文学—中国文学]