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可能因为汤显祖在《四梦》等戏曲创作中取得的巨大成就,学人对于他在其它文体的创作活动关注较少,比如词。汤显祖与词的关系,已有的研究集中在搜集分析汤显祖评点《花间》体现的词学观念和汤显祖本人的词的创作情况及其在明清词坛的影响这三个方面。本文则认为,研究汤显祖与词的关系,不能仅停留在词这一文体的侧面,这只是一个表象,更重要的是汤显祖词学观念或者说汤显祖由词的发展而形成的文学观念深深地影响了他的戏曲思想,而且,生动地体现了文体观念由词而曲发展的脉络,戏曲“情本”论、格律与文采之争在某种意义上是词体正变之争、雅俗之辨的延续,在晚明新思潮的影响下而有了新的内涵。
It may be because of Tang Xianzu’s great accomplishments in drama creation such as “Si Meng” that scholars pay little attention to his creative activities in other genres, such as Ci. The relationship between Tang Xianzu and Ci has been focused on collecting and analyzing Tang Ci-zu’s “Cihua” concept of Ci-Ci and Tang Xian-zu’s own creation of Ci and its influence on the Ci-Poetry of Ming and Qing Dynasties. This article argues that the study of the relationship between Tang Xianzu and Ci can not stop at the side of the style of Ci. This is just an appearance. More importantly, Tang Xianzu’s concept of Ci or the concept of literature formed by Tang Xianzu’s development of Ci deeply Influenced his thought of drama, vividly embodies the context of the development of stylistic concepts by Ci and Qu, the controversy of the “Quotations” of the drama, the dispute between the metrical and the literary genre, in a certain sense, The continuation of differentiation has a new connotation under the influence of the new trend of thought in the late Ming.