从《粲花斋五种曲》的婚恋模式看吴炳的情与理  

A Study of Wu Bing’s Sensibility and Sense from the Mode of Love and Marriage in Five Modes of Music in Can Hua Zhai

作　　者：肖明玉 XIAO Ming-yu(Research Centre for Macao Social and Economic Development,City University of Macao,Macao 999078,China)

机构地区：[1]澳门城市大学澳门社会经济发展研究中心,中国澳门999078

出　　处：《海南师范大学学报（社会科学版）》2021年第2期126-133,共8页Journal of Hainan Normal University(Social Sciences)

摘　　要：明代中后期,传奇创作经历了从通俗朴素到典雅精致的转变,同时,经由明朝中期王学、李贽等对程朱理学的反叛风潮后,由汤显祖《牡丹亭》起始在社会上引发强烈反响,文坛剧场一时出现了许多承继效仿汤氏来颂扬男女真情的传奇作家。吴炳作为承前启后者,其作品《粲花斋五种曲》集汤显祖和沈璟两派之大成,力主以情写人,但在婚恋题材的实际书写中发生偏离,体现为对现实伦理教化的屈从,相关创作动机与情理观念更影响了清代文人传奇创作的发展。The writing of legends underwent a change from simplicity and plainness to elegance and exquisiteness in the middle and late Ming Dynasty.At the same time,after the rebellion against Neo-Confucianism typified by Cheng Hao,Cheng Yu and Zhu Xi initiated by Wang Xue,Li Zhi and others in the mid-Ming Dynasty,Tang Xianzu’s The Peony Pavilion caused some strong social repercussions,so for a time there emerged many writers on legendary tales who extolled the true love between men and women by following and imitating Tang Xianzu.As a link between the past and the future,Wu Bing advocated portraying people in an affectionate manner in his Five Modes of Music in Can Hua Zhai,a collection of the feats of the two schools of dramatists represented by Tang Xianzu and Shen Jing respectively.However,there is some deviation in the actual writing of marriage and love themes,as is embodied in the submission to realistic ethical education.And moreover,the related creative motives and concepts of sentiment and reason have further affected the development of the writing of legends by literati in the Qing Dynasty.

关 键 词：吴炳 明传奇 粲花斋五种曲 情理观 

分 类 号：G12[文化科学]