人文回归与独抒性灵——莎士比亚和汤显祖戏剧作品中情理冲突的文化比较  

Return of Humanism and Expression of Individual Spirituality

作　　者：吴倩茹[1] 金安民 方新[1] WU Qian-ru;JIN An-Min;FANG Xin

机构地区：[1]安徽黄梅戏艺术职业学院,安徽省安庆市246000 [2]安庆石化第一中学,安徽省安庆市246000

出　　处：《芜湖职业技术学院学报》2019年第3期65-68,共4页Journal of Wuhu Institute of Technology

基　　金：安徽省高等学校人文社科重点项目“中英经典戏剧女性母题比较研究”（SK2017A0975）;安徽省高等学校人文社科重点项目“桐城派刘开的文学创作和思想研究”（SK2018A1022）

摘　　要：莎士比亚和汤显祖虽然身处不同的国度,但二人生活的年代相近。其作品都表现出鲜明的情理冲突。以莎氏的《仲夏夜之梦》、《哈姆雷特》和《罗密欧与朱丽叶》等作品以及汤氏的"临川四梦"为例,对其中情理冲突的部分所进行的文化比较反映了二人所处的历史背景对其作品创作的影响。在莎士比亚时代,欧洲的人文解放思潮强调个体价值,女权主义和新的伦理观逐渐兴起,因此其作品表现出人文主义的回归;而明朝中期以后,程朱理学依然为正统,但阳明心学亦对社会思潮产生了深远的影响,汤显祖在思想上站在时代前沿,独抒性灵,肯定人性和情欲,其戏剧作品亦表现出以情反理的思想追求。Though living in different countries, Shakespeare and Tang Xianzu lived in the similar times, and their works also showed the distinct conflicts of rationality and sensibility. In the examples of Shakespeare’s Midsummer Night Dream, Hamlet, Romeo and Juliet and other works as well as Tang Xianzu’s Four Dreams of Linchuan, a cultural comparison among the parts containing the conflicts of rationality and sensibility reflects the influence of the historical background on their works. The Shakespeare’s times saw the rising of thoughts on European humanistic liberation focusing on individual values and the first signs of feminism and new ethics, so his works are just the reflection of the return of humanism. In the middle and later periods of Ming Dynasty, Neo-Confucianism still hold dominating position in the domains of thoughts and schools, but Wang Yangming also had far-reaching influence on the trend of social thoughts with his philosophy of mind. By affirming human nature and desire, Tang Xianzu expressed his spirituality independently with courage at the forefront of the times. His dramas also demonstrated his ideological pursuit of resisting rationality with sensibility.

关 键 词：莎士比亚 汤显祖 情理冲突 比较 

分 类 号：I106[文学—世界文学]