论元杂剧《潇湘雨》大团圆结局的必然性  

On the Inevitability of the Yuan Opera “Night Rain in Xiaoxiang”

作　　者：李世朝[1] 

机构地区：[1]太原师范学院文学院,山西晋中030619

出　　处：《太原师范学院学报（社会科学版）》2016年第4期74-77,共4页Journal of Taiyuan Normal University:Social Science Edition

摘　　要：元代是多种文化并存的时期。根据元代不同文化的特征,可将《潇湘雨》剧中人物分为三类:一类是具有中原传统儒家文化的人物形象;一类是具有草原文化特征的人物形象;一类是异质文化下产生的畸形文人形象。这三类人物的言与行受其所属文化的制约,在相同时空下,他们相互间的文化冲突形成了《潇湘雨》必然性的大团圆结局。对《潇湘雨》大团圆结局所体现的反抗思想的认识和有悖于中国古典戏曲中固有的"大团圆"结局审美机制则是引发后人争议的主要原因。Yuan Dynasty is a period when diversified cultures co-exist. According to their different features, the figures in the play ＂ Night Rain in Xiaoxiang＂ can be classified into three categories： the figures with features of Confucian culture in central land, the figures with grassland culture and the figures with heterogeneous culture.Confined by their own cultures, it is inevitable that he three groups of people have cultural conflicts between each other, which lead to the happy ending in the play. However, different ideas on the rebelling in the end and its aesthetics against traditional tragic ending provoke a lot of arguments later.

关 键 词：潇湘雨 大团圆 必然性 反抗性 

分 类 号：I206.2[文学—中国文学]