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一在中国文学的传统中,情爱的表现虽然也呈现出种种复杂的景观,但就其主要倾向而言,却是缺少悲剧精神的。它在文学对情爱故事的处理上集中表现为以大团圆为结局的结构模式。这种倾向在整个中国古代文学的历史上日益增强。在唐代传奇中我们可以看到《莺莺传》、《霍小玉传》等悲剧精神较强的作品,在宋代话本中也可以看到《金玉奴棒打薄情郎》、《杜十娘怒沉百宝箱》等找不到美好结局的故事,元代戏曲中不乏悲剧题材,但除个
In the tradition of Chinese literature, although the performance of love shows a complex landscape, its tragedy is lacking in its main tendency. It focused on the treatment of love stories in literary form as a result of a happy ending. This tendency has been increasing in the history of ancient Chinese literature. In the legend of the Tang Dynasty we can see works such as “Ying Ying Biography”, “Huo Xiaoyu Biography” and other tragic spirit works. In the Song Dynasty, we can also see “ Fury, Treasure Box ”and so can not find a happy ending story, there is no lack of tragedy themes in the Yuan Dynasty drama, but in addition to