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刊刻于康熙十九年(1680)的《西厢记》评点本《西来意》,通过严格的文本求证,以“色空”观念统贯全篇,将《西厢记》由写实主义的风情剧有意误读成喻示佛教教义的象征主义之作。其解读思路既是对晚明以来“悟梦”说的完善和终结,也是在金批《西厢》出现后力反其说的结果。无论是作为《西厢记》哲思批评史上的独特景观,还是作为金批《西厢》的再批评之作,《西来意》都有其典型性及不容忽视的理论价值。
Inscribed in The Critics of West Chamber in the Nineteenth Year of Emperor Kangxi (1680), this “Xilaiyi” comments through strict texts and conforms to the whole concept of “color space” Misinterpreting as symbolism of Buddhist doctrine. Its interpretation of ideas is not only the perfection and the end of “Wu dream” since the late Ming dynasty but also the opposite result after the “West Wing” was approved. No matter as a unique landscape in the history of philosophical criticism of The Romance of the West Chamber or as a critique of the “West Wing” of the Golden Grant, the “West Lai Yi” has its typical and can not be ignored theoretical value.