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随着全真教在元代的繁荣,散曲中出现了众多仙道神话的人物典故。作为元代八仙之一,徐神翁也随之出现在道情散曲和八仙戏中。作为宗教人物典故,相比八仙的其他七人,徐神翁在元散曲中出现的次数极少。元代散曲家对徐神翁人物典故的冷落,映射出他们在散曲创作中人物用典的审美倾向,即偏好与文人气质有相通之处的宗教人物形象。这种态度的背后,隐含着元代文人对道教悬壶和世俗生活双重的渴望,而这也是当时知识阶层的真实精神写照。
As Quanzhen Buddhism flourished in the Yuan Dynasty, many allusions of immortal myth appeared in Sanqu. As one of the Eight Immortals in Yuan Dynasty, Xu Yang Weng also appeared in the Taoist Sanqu and Eight Immortals. As a religious figure allusions, compared to the other seven of the Eight Immortals, Xu Yang Weng appeared in the Yuan Sanqu very few times. The neglect of Xuansong’s characters and stories in Yuan Dynasty’s Songs reflected the aesthetic tendencies of their characters in Sanqu creation, that is, the preference of religious figure who has something in common with the literati’s temperament. Behind this attitude lies the desire of the literati in Yuan dynasty to double the Taoist Taoist life and secular life, and this is also the true spirit of the intellectual class at that time.