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根据乾嘉学者对戏曲的态度,大致可划分成两类:一是喜看戏品戏,且作诗题咏,或与曲家互为友朋,甚至为艺人作传;二是一身出入曲家与经学家之间,以治经手法写戏或治曲。乾嘉学者主张戏曲应攸关风化,从文学发展的角度论证戏曲与诗词同源,纳入正统文学公认的诗骚传统,自觉为之“正名”。他们集科学理性精神与艺术精神于一身而并行不悖,主要缘于:乾嘉之际戏曲空前繁盛,举国上下观戏蔚然成风;有感于斯时社会风气不振,欲通过彰举戏曲的风化功能而拯世济民;以为词曲可发抒个人情志,作治经之有益补充。
According to the attitudes of opera and scholar to opera, they can be roughly divided into two categories: one is to enjoy the opera, the other is to poetic poetry, or to be friends with Qu Jia, or even to be an artist; secondly, Between the home and the scholar to rule by writing or song rule. Qian Jia scholars advocate drama should be weathered, from the perspective of the development of literature argued that opera and poetry homology, into the orthodox literature recognized poem Sao tradition, consciously “name ”. They set the spirit of scientific rationality and the spirit of art in one and go hand in hand, mainly due to: the occasion of the occasion of the occasion of the war between the dry and unprecedented prosperity, the whole country from top to bottom view becomes a common practice; feeling insecure societies, want to highlight the opera’s weathering function and save Shijimin; that songs can express their personal feelings, as a useful supplement for governance.