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元朝儒生的地位被降致社会底层,他们不再是挥斥方遒,影响国家命运的上层决策者,而是与下层人民为伍,流连于勾栏瓦舍之间。他们转而投向俗文学的创作,于文学作品中书写着属于儒生的胜利,这是一种心理的补偿。本文从元杂剧爱情剧着手,试图探究元杂剧作家们通过这一文学形式,为成为爱情中的胜利者而塑造的一个个美好梦境。这一胜利通过男女双方特别是女性对社会陈规大胆的反对展开,通过女子为男子所遭受的苦难得以彰显。爱情喜剧表现出的不只是在封建王国的层层阻碍之下,天下有情人所获得的胜利,更隐藏着儒者在这个失意的年代试图保持自己尊严所取得的胜利,这一胜利赋予爱情剧更多重的意象,除了团圆,喜乐的结局,更有男性的悲戚。
The position of Confucian scholars in the Yuan Dynasty was brought down to the bottom of society. They were no longer the upper-level policymakers who disparage the party and influence the destiny of the country. Instead, they were working with the people at the lower levels and lingering in the hook box. Instead, they turned to the creation of popular literature and wrote in the literary works the victory of Confucian scholars, a psychological compensation. This essay begins with the love drama of the Yuan drama and seeks to explore the beautiful dreams created by Yuan opera writers through this literary form to become victors in love. This victory was carried out through the daring opposition of men and women, especially women, to social stereotypes, which were manifested through the suffering women suffered for men. Love comedy shows not only the obstacles of the feudal kingdoms but also the victories won by the lovers all over the world and the hidden victory of the Confucianists trying to maintain their dignity in this frustrated age. Multiple images, in addition to reunion, the joyous ending, more male grief.