《娇红记》之婢女形象探微  

An analysis of the image obout the maidservants in the Jiao Hong Ji

作　　者：任小芳 Ren Xiaofang(Shaanxi Normal University,College of Liberal Arts,Xi’an 710119,China)

机构地区：[1]陕西师范大学文学院,陕西西安710119

出　　处：《六盘水师范学院学报》2020年第2期36-41,共6页Journal of Liupanshui Normal University

摘　　要：作为晚明时期重要的传奇作品,孟称舜《娇红记》对婢女形象的塑造取得了成功。其对《娇红记》小说有继承,也有创新。继承表现于婢女描写都以飞红为重心,突出了她才貌俱全、精通翰墨、恩怨分明等性格特征。创新主要体现在刻画她们对"情"的渴慕,并且赋予她们的"情"以理性规范的约束。孟称舜对婢女形象的这种塑造,既是出于作品传"奇"的文体需要,也反映了晚明重"情"的时代特征,同时对人们认识晚明婢女生存境况提供了借鉴,亦体现出作者"发乎情,止乎礼"的价值观念。As an important Chuan-qi drama in late Ming dynasty,Meng Chengshun’s Jiao Hong Ji was successful in shaping the maidservants image.It inherited and innovated the novel of Jiao Hong Ji..The inheritance manifested in the description of the maidservants.They both focused on Fei Hong and highlighted her personality traits of having both looks and real talent,being good at calligraphy and diction,and having distinct preference and hatred.The innovation manifested in reflecting their desires for"love",and give the"love"the rational norms of the constraints.Shaping the image of the handmaids is satisfied with the need of the"odd"of the works.It also reflects people attached importance to the love in the late Ming dynasty.It also provides a basis for people to understand the survival situation of the handmaids in that era.What’s more,shaping the handmaids reflects the author’s values that the affection generates between man and woman but restrained by the ritual.

关 键 词：《娇红记》 婢女 传“奇” 重情 作家思想 

分 类 号：I207.3[文学—中国文学]