中国古代戏曲就其主导方面而言是以审美的方式体现了儒家伦理道德的实践理性精神。它失去了个性,甚至“天理存,人欲亡”。李贽发扬不被礼义所掩盖的“童心说”,“人欲恰好处,即天理也,好货好色,欲也,与百姓同之即理也。”这些观点说明儒家之理,已由不识人间之烟火、天理、礼制、秩序等,转化到普通百姓中的自然、情感、欲求了。这些天理的崩溃,人性论的崛起,对戏曲艺 As far as its dominant aspect is concerned, the ancient Chinese opera embodies the practical and rational spirit of Confucian ethics in an aesthetic way. It lost its character and even “survived, desperation”. Li Yong did not be covered by rituals, “innocence that”, “people want just happen, that is, God, good goods lust, desire too, and the people that is the same reason.” These views illustrate the reason of Confucianism, from not Know the world of fireworks, God, etiquette, order, etc., into ordinary people in the natural, emotional, desires. The collapse of these principles, the rise of human nature, opera art