论诗剧《梧桐雨》的叙事特色  

On the Narrative Art of the Poetic Drama Chinese Parasol Tree Rain

作　　者：曾泽欣 ZENG Ze xin(College of Humanities,Shaanxi University of Technology,Hanzhong,Shaanxi,723001)

机构地区：[1]陕西理工大学人文学院,陕西汉中723001

出　　处：《贵州师范学院学报》2022年第8期34-39,共6页Journal of Guizhou Education University

摘　　要：《梧桐雨》作为一部诗剧,在强调其抒情性的同时不可忽略其叙事性。叙事意象上,“金钗钿合”和“梧桐树”是该剧的眼睛;叙事时空上,整出戏都发生在秋天,而大空间上经历了从宫中到马嵬坡再回到宫中的转变,小地点又有从宫殿内到梧桐树下的转变;叙事主题上,白朴借李、杨两人爱情的荒诞与唐明皇的无奈,寄寓了人生的荒凉无奈感;与《长生殿》的叙事结构类似,二者都重在爱情线,但《梧桐雨》在最后隐去了政治线,集中描写唐明皇的深情。Chinese Parasol Tree Rain,as a poetic drama,embodies the perfect combination of lyricism and narrative.In terms of the narrative imagery,the"love of the Golden Lotus"and"Chinese parasol tree"are the eyes of the drama.In terms of narrative time,the whole events in the drama all took place in autumn.Narrative space,broadly speaking,switches from palace to Ma weipo and back to the palace,and specifically,from the palace to Chinese parasol tree.As for narrative theme,Bai Pu expresses the desolation and helplessness of life with the absurdity of Li and Yang's love and the helplessness of Emperor Minghuang of Tang Dynasty.Compared to the structure of The Palace of Eternal Youth,although the narrative clues of the two are all focused on the love line,Chinese Parasol Tree Rain almost concealed the political line at the end,while it concentrated on describing the deep love of Emperor Minghuang of Tang Dynasty.

关 键 词：《梧桐雨》 叙事意象 叙事时空 叙事主题 叙事结构 

分 类 号：I206.2[文学—中国文学]