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元杂剧“三国戏”的人物与情节在三国题材演化史中的形态可归结为三种类型,一是,与《三国志平话》同而与《三国演义》异;二是,与《三国志平话》异而与《三国演义》同;三是,剧中独有而与《平话》《演义》皆异。笔者通过《连环计》、《博望烧屯》二剧与《平话》、《演义》的比较,力图突破后来居上的思维方式,打破经典完美论的束缚,挖掘元杂剧“三国戏”独特的耐人寻味的思想意蕴与审美价值。这种研究思路,不仅适用于三国题材,累积型成书方式的其他题材,诸如“水浒”、“西游”题材等,也可循此思路重新思考某些相关问题,或许也能挖掘出新的思想文化内涵与审美价值。
The characters and plots in the Yuan drama “The Three Kingdoms” can be attributed to three types in the evolution of the theme of the Three Kingdoms. The first is that they are different from the Three Kingdoms and the Romance of Three Kingdoms; Pinghua “is different from Romance of the Three Kingdoms; thirdly, the play is unique and” Pinghua “” Romance of the Kingdoms “are different. The author attempts to break through the later way of thinking, break the shackles of classic perfectionism, and excavate the unique features of ”Yuan Opera“, ”Three Kingdoms“ Thoughtfulness and Aesthetic Value of Thoughtfulness. This kind of research idea not only applies to other topics such as ”Water Margin“ and ”Journey to the West“ under the theme of ”Three Kingdoms“ and ”Courier", but also rethinks some related issues according to this idea and may also tap A new ideological and cultural connotation and aesthetic value.