一关汉卿不仅是元剧作家中的巨擘,更是我国戏曲史上几个最闪亮的名字之一,有关他的研究,可谓卷帙浩繁。近几十年来,对关汉卿戏曲的讨论,除了部分涉及作品的艺术特质之外,大量的论文,倾向强调其剧作思想主题、剧作人物对权威、体制、黑暗势力的挑战、反抗,俨然将关汉卿及其剧作塑造为“正义”的典范。这些论述,自有一定的说服力,但在许多学者歌颂赞叹的胜利与团圆的背后,是否真的了无遗憾?或竟是潜藏着更危险的暗流? 包拯在《鲁斋郎》中以偷天换日之手, Han Guan is not only a great playwright in Yuan Opera, but also one of the most brilliant names in the history of Chinese opera. The research on him is very voluminous. In recent decades, the discussion of Guan Hanqing’s opera has included some of the art traits involved in the works. In addition to the artistic features of the works, most of the dissertations tended to emphasize the theme of his plays and the challenge and resistance of the dramatis personages to the authority, the system and the forces of darkness. Guan Hanqing and his dramas are portrayed as models of “justice.” These expositions have their own persuasion, but are there no regrets behind the praises and celebrations of victory and reunion by many scholars? Or is it actually a more dangerous hidden undercurrent? Bao Zheng in “Lu Zhai Lang” Sneaky hands,