淡化的宗教意味——论徐渭《狂鼓史》《玉禅师》的书写尝试  

Diluted Religious Implications——On Xu Wei’s Attempts to Write The History of the Mad Drum,The Jade Zen Master

作　　者：洪月 HONG Yue(College of Arts,Heilongjiang University,Harbin Heilongjiang 150080,China)

机构地区：[1]黑龙江大学文学院,黑龙江哈尔滨150080

出　　处：《四川职业技术学院学报》2023年第1期103-109,共7页Journal of Sichuan Vocational and Technical College

基　　金：国家社科基金重大项目“全明笔记整理与研究”(17ZDA257)。

摘　　要：徐渭的《狂鼓史》《玉禅师》篇幅不长,文本简略,却体制奇巧,构想独到,处处隐含其文人性情,在戏曲语境中尽显其文本特质。二剧皆与宗教相干,可是宗教意味却寡淡,具体呈现形式丰赡。浸润于中晚明尘寰的徐渭,在简短的文本中,有意或无意地淡化其戏曲文本的宗教意味,蕴含主观劝善意识淡化、儒家观念先入之见、宗教符号内蕴丰赡三部分具化的书写尝试,效果鲜明,思维开新,处处可见他对人生意义的哲学省思。Xu Wei’s The History of the Mad Drum and The Jade Zen Master are short and simple,but they are ingeniously constructed and uniquely conceived,implying the character of the literati in every way,and revealing their textual qualities in the context of opera.Both plays are associated with religion,but their religious connotations are muted,while their concrete presentation is rich in form.Xu Wei,who was immersed in the dusty world of the mid and late Ming Dynasties,has either consciously or unconsciously diluted the religious connotations of his opera texts,and has attempted to write with three parts:a diluted sense of subjective persuasion,a preconception of Confucianism,and a richness of religious symbols.

关 键 词：徐渭 《狂鼓史》 《玉禅师》 劝善意识 儒家观念 

分 类 号：I207.37[文学—中国文学]