论文部分内容阅读
以“三言”、“二拍”为代表的明代白话短篇小说的主要特点之一是描写商人、手工业者的生活情态和精神面貌，但是在同时期或者稍后出现同题材的戏曲作品中，这一特点出现明显变化。或者说，这些戏曲作品呈现出全然不同的特点：商人、手工业者的主人公地位被文人士子所替代，对商人生活的津津乐道变成了对文人处境的苦涩叹息。本文通过若干同题材白话小说和戏曲作品的对比对这一现象进行了分析，试图揭示出这类戏曲作品不同于白话小说的价值。
One of the main features of the Ming Dynasty vernacular short stories represented by “San Yan” and “Er Pai” is the description of the life style and spiritual appearance of merchants and handicraftsmen. However, in the operas of the same period or later, This feature has changed significantly. In other words, these operatic works present completely different characteristics: the protagonist status of merchants and handicraftsmen has been replaced by literati and sons, and the relish of merchant life has become a bitter sigh of literati’s position. This article analyzes this phenomenon through the comparison between some vernacular novels and opera works, attempting to reveal the value of such opera works different from the vernacular novels.