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高则诚剧作《琵琶记》以其“南戏之祖”的地位,明清数百年来一直盛演不衰。并且对其本事、其曲调、其创作意向等,进行了多方面的阐释。他对宋代南戏《赵贞女蔡二郎》人物形象、作品结局的改造,使人物、情节与原型有较大的差距。这源自于作者创作的生活源泉之不同,并反映出他“不关风化体,纵好也徒然”的创作观念。《琵琶记》虽是戏文,不可处处质实,但是也在一定程度上反映出了作者的世界观。本文试图通过对人物形象的分析,以及作者在《琵琶记》中表现的思想矛盾性的阐释,结合作者现存的诗词文,来探讨作者所表现出来的家庭伦理观。
Gao Zicheng play “Pipa” with its “South play the ancestors ” status, Ming and Qing Dynasties has been unfailing. And has carried on the multi-faceted explanation to his ability, his melody, his creative intention and so on. He made a great difference to the characterization and the ending of the works of the Southern Drama “Zhao Zhennong Cai Erlang” in the Song Dynasty. This stems from the author’s creation of the different sources of life, and reflects his “not related to weathering body, even longitudinal ” creative concept. Although Pipa is an opera, it can not be used everywhere, but it also reflects the writer’s view of the world to a certain extent. This article attempts to explore the family ethics represented by the author through the analysis of the figure and the contradictory ideological expression of the author in Pipa and the existing poems of the author.