论汤显祖唯情文学观的复古倾向——以《牡丹亭》为例  

The Tendency of Restoring Ancient Ideas in Tang Xianzu's Literary Theory of Love: A Case Study of The Peony Pavilion

作　　者：盛志梅[1] Sheug Zhimei(the School of Chinese Language and Literature at Tianjin Normal Universit)

机构地区：[1]天津师范大学文学院

出　　处：《文艺理论研究》2017年第5期43-51,共9页Theoretical Studies in Literature and Art

摘　　要：以往学界在研究汤显祖的思想时,多认为他的"至情论"核心是"以情抗理","有情人"杜丽娘就是他的代言人。在《牡丹亭》中,生前的杜丽娘固然可以视之为觉醒的青春形象(这些性格因素恰是作者继承素材而来的),但她的回生之路却是一步步走向传统,回归礼教。杜丽娘由人而鬼,再由鬼而人,始于情,终于礼,最后重新融入到了现实秩序之中。可以说,杜丽娘的形象内涵虽然有心学挑战传统礼教的激进因素,但更多的体现了作者"以人情之大窦,为名教之至乐"的追求与倡导礼乐教化的苦心,这恰恰体现了他对心学的回拨态度,其复古倾向是非常明显的。For a long time, in the study of Tang Xianzu, most scholars believe that ＂countering Confucian ethical codes with emotion＂ is core to his idea of love, and Du Liniang is his spokesperson. In The Peony Pavilion, before her death, Du Liniang＇s image is an awakening young person, which is from the original material that Tang Xianzu adapts. From her death to resurrection, she gradually steps towards tradition and returns to the ethical codes. Du Liniang＇s journey from a human being to a ghost and from a ghost to a human being starts from love and ends in ethical codes, which means that she returns to the order of reality. The image of Du Liniang indeed contains the factors of the Neo - Confucian School of Mind＇s challenge to traditional ethical codes, but there are more the author~ dream and pursuit to advocate rites and music as means of education. It clearly reflects the author~ attitude to the Neo - Confucian School of Mind, namely to correct its errors and restore ancient ways.

关 键 词：至情 礼乐 心学 传统 回拨 

分 类 号：I207.3[文学—中国文学]