元明清时期萧史弄玉剧作本事流变考  

The Evolution of the Plot of Xiao Shi and Nong Yu in Dramas During the Yuan,Ming,and Qing Dynasties

作　　者：王琳 刘雅文 Wang Lin;Liu Yawen

机构地区：[1]西安建筑科技大学文学院

出　　处：《四川戏剧》2025年第2期41-46,共6页Sichuan Drama

基　　金：2022年度陕西省社会科学基金项目“陕西历代方志所载戏台建筑史料整理与研究”(项目编号:2022J022)的研究成果。

摘　　要：以萧史弄玉故事为本事的剧作最早出现于宋元时期,明清时期随着个性解放思潮的兴盛,相关剧作出现女性自我意识觉醒的萌芽,反映了女性思想解放的初步进程,并成为近现代相关剧作中弄玉对爱情自主追寻的先声。同时,明清时期相关剧作日益与政治结合,教化功能增强,教化内容由宣扬伦理道德,变为树立君主权威、巩固封建统治。这样的流变特征不仅在元明清时期以萧史弄玉故事为本事的戏剧作品中有所体现,也与这段时间内大量爱情婚姻剧的发展轨迹相契合,由此可窥见元明清戏剧作品呈现出的独特时代风貌。Dramas based on the story of Xiao Shi and Nong Yu first appeared during the Song and Yuan dynasties.With the rise of the individual liberation movement during the Ming and Qing dynasties,these related dramas began to reveal the awakening of female self-awareness,reflecting the early stages of women's ideological emancipation.This development served as a precursor to the modern themes of Nong Yu pursuing love autonomously.At the same time,during the Ming and Qing dynasties,these works increasingly integrated political elements,with their edifying functions becoming more pronounced.The themes shifted from promoting ethics and morality to reinforcing monarchial authority and solidifying feudal rule.These evolutionary characteristics are not only reflected in the dramas during the Yuan,Ming,and Qing periods that are based on the story of Xiao Shi and Nong Yu,but also align with the broader developmental trajectory of romantic and marriage-themed plays from the period.This offers insight into the distinctive era-specific features of theatrical works in the Yuan,Ming,and Qing dynasties.

关 键 词：萧史弄玉 本事流变 女性自我意识 教化功能 

分 类 号：I207.3[文学—中国文学]