论文部分内容阅读
曹雪芹在小说创作中对镜鉴的重视,及对“风月宝鉴”的着意刻绘,与明末清初众多戏曲作品以镜鉴为主要意象的创作风尚之间有一致性。《红楼梦》小说与吴伟业《秣陵春》、朱佐朝《石麟镜》、智达僧人《归元镜》等传奇的相关内容,皆有一定的关联性。故此,曹雪芹小说中的镜鉴意象构建,曾经汲取明清戏曲文化的养分,且又在长篇叙事文学的创作中进一步提升了其文化内涵与哲学意蕴。此外,《红楼梦》小说的“前书”之一《风月宝鉴》,在命名上受到明清戏曲“以镜为名”文化风习的影响,叙事文学的不同文体之间的关联也由此可见。
Cao Xueqin’s emphasis on mirroring in the novel creation and his deliberate rendering of “Feng Yue Bao Jian ” are consistent with the creative style of mirror operas of many operas in the late Ming and early Qing dynasty. There is a certain correlation between “Dream of Red Mansions” novels and the legendary contents such as “Wu Ling Ye”, “Zhu Lin”, “Zhu Yuan” and “Zhiguanyuan” of Zhida. Therefore, the construction of mirror image in CAO Xue-qin’s novels draws the nutrient of drama culture in the Ming and Qing dynasties and further enhances its cultural connotation and philosophical implication in the creation of long narrative literature. In addition, “A Dream of Red Mansions”, one of the first books of A Dream of Red Mansions, is influenced by the cultural practices of Ming and Qing dynasties and with the mirror as the name of the mirror, between the different styles of narrative literature This can be seen from the association.