元明杂剧文人形象与剧作家心态变迁研究

【作者】 刘丽华；

【导师】 王志武；

【作者基本信息】 陕西师范大学 ， 中国古代文学， 2008， 博士

【摘要】 文人作为元明杂剧的创作主体对杂剧创作是一种限制。杂剧中的人物、情节和剧作家的精神世界有着千丝万缕的联系,文人群体的共同心态限制着杂剧的发展方向。同时,杂剧的发展是连续而有变化的,作为剧作家精神的载体,能够呈现出文人心态变化的轨迹。所以我们的研究将沿着历史发展的顺序,也是杂剧发展的足迹,以出现在元明两代文人剧作家的杂剧中的文人形象为研究对象,从生存状态、性格气质、价值取向等方面进行较为全面的剖析,寻找历史变迁中的文人群体心态和杂剧文人形象之间的联系,从而挖掘出影响元明杂剧发展变化的重要因素。元代初期,文人群体被推向政治、文化的边缘,个体价值的实现完全是一个难以实现的幻想,但对个体价值的充分肯定却恰恰成为此时文人形象身上最为突出的特征。杂剧往往抱着对中原文化传统的怀念和美赞来对文人进行全方位的刻画,呈现出的是才、情、义兼而有之的才子形象。剧作家接纳着也抵御着文化的变迁,使元初杂剧表现出强烈的批判精神,而他们带着浓厚的关怀反观自身时,对于文人弱点的批判就表现为大胆地揭示,小心地点拨。元代中期,基本适应了元王朝统治环境的文人,并没有从根本上获得身份的改变,但是随着科举制度的恢复和再停,希望和失望的反复交替构成这一时期文人心态变化的中轴线。文人形象中贫寒之士也相应减少,多了对功名客观冷静的思考,也出现了在仕与隐之间难以抉择的犹豫,人生实现的标准非常明确地转向了道德价值。正是在对功名的重新认识中,文人不断地审视和理解着自己一直恪守的规范和法则,信、义就是这时被剧作家挖掘出来,成为能展现文人人格魅力的优势。元末明初,经历了元明易代的文人,社会地位回升,但在高压文化政策的威慑下,以及视杂剧为“小道”的思想影响下,文人心态趋向避祸和遵从,大大削弱了文人杂剧作家的队伍,在藩王剧作家的创作引导下,杂剧对文人的关注程度也并不强烈,多数形象处于陪衬的角色,人物身上的个性色彩大大减弱,形象黯然失色。带有鲜明地为贵族娱乐和理学教化服务的特点,杂剧表现出发展过程中的迅速衰微。明中期,受到政治、经济、思想环境等多方面的影响,文人的个体意识被唤醒,不受束缚地追求独特人生、对抗礼法成为这时文人群体的共同心态,杂剧中文人形象的刻画也突出着强烈的自我意识,呈现出一批卓然不群的狂士和雅士形象,充斥着对传统价值标准的新思考。明后期,朝政腐败、世风日下,思想领域失去了权威和主流,文人心态也趋于复杂而多样。复古成为此时影响文人心态的新动向。有着救世责任的文人回首传统,力倡儒学道统,希望通过重建理学的权威来挽救世道人心。此时文人形象的刻画深入心灵,既有对人才的礼赞,又有对人才的悲悯。在拯时救世的渴望中找寻着自我价值实现的可能,表现出末世文人纷杂的情绪。由元到明,杂剧在从舞台到案头的发展中衰落了,文人形象也走出了一条从社会到书斋的路程,虽然明后期,角色又表现出向着舞台、社会回归的倾向,但已然不能改变杂剧衰落的命运了。杂剧以其在文学上的特殊地位,真实地记录了文人剧作家的内心世界,所以杂剧的发展历程中,始终纠缠着文人剧作家心态变迁对人物形象的直接影响,以致影响到了整个杂剧的发展方向。更多还原

【Abstract】 As the main body of creative work of Yuan and Ming complex dramas, literati are somewhat limit to the creative work of complex dramas. The characters, plot and the spirit of the dramatists are interrelated in the complex dramas while the common mood of the literati restricts the development of complex dramas. Simultaneously, the development of complex dramas is constant and vicissitudinous. As the carrier of the spirit of literati, complex dramas present the tracks of their mood. Hence, my study is to follow the historical sequence which is also the development of complex dramas. The object of the study is literati images presenting in complex dramas written by dramatists of Yuan and Ming Dynasty. The author endeavors to analyze from the aspects of livelihood, temperament and value orientation so as to fine out the common mood of literati and the relation among the images of literati in complex dramas and to dig the essential factors which influence the development of complex dramas of Yuan and Ming Dynasty.At the beginning of Yuan Dynasty, the literati group was pushed to the border of politics and culture. The accomplishment of the individual value was like a dream unable to realize. The full affirmation of individual values, however, is the distinguishing characteristic of the images of literati at that time. Complex dramas usually cherish the memory and admiration of the traditional culture of the central plain of China to illustrate literati from all the aspects, presenting wits of literary, emotion and personal loyalty. Dramatists accepted and resisted the transformation of culture so that complex dramas at the beginning of Yuan Dynasty revealed strong critical spirit. When reflecting on themselves with great concerns, they revealed bravely as well as mentioned carefully about the weaknesses of literati.In the middle of Yuan Dynasty, the status of the literati who were used to its political circumstances had not changed fundamentally. But with the restoration and discontinuation of civil service examination system hopes and discouragements alternatively constructed the main line of the mentality of literati then. The images of poor scholars were decreasing while there were more cool and objective thoughts on fame and gain as well as hesitation about the choice of official and implicitness. The norm of life accomplishment definitely turned to concerns of moral values. Just among the rediscovering of fame and gain, literati examined and figured out the norm and laws strictly abided by them. Faith and personal loyalty were dug by dramatists at that time, which became the advantage that revealed the character enchantment of literati.At the turn of Yuan and Ming Dynasty, the literati had experienced the alternation of dynasties and their status had been improved. But as the deterrence of high-handed cultural policies, the mentality of literati tended to be escaping the disasters and deference which greatly weakened the group of literati as well as complex dramatists. With the guidance of seignior dramatists, complex dramas concerned little about the literati, in which most of the characters were foils and the personalities of the characters were weakened to a great degree and the images were gloomy. Dramas showed the gradual decreasing trend in the development with the characteristic of entertaining the nobles and serving for Confucian civilization.In the middle of Ming Dynasty, influenced by factors from many aspects such as politics, economics and mentalities, the individual sense of literati were aroused. The common mentality of literati at that time was freely pursuing unique life and resisting decorum. In complex dramas, strong self-sense stood out the illustration of literati, revealing a group of egotistical and gentle images who stand head and shoulders above all others and filling with news thoughts on traditional value system.In the latter of Ming Dynasty, corruption was spreading and the society was decayed. The filed of thoughts lost the authority and mainstream. The mentality of literati tended to be complicated and diverse. Restoration was a new trend of the mentality of literati. The literati with a heart of salvation looked back on tradition and proposed Confucian, hoping to rescue the society and morality by reconstructing the authority of Confucian. Then the illustration of literati was meticulous, which full of praise as well as pity for talents. In the hope of salvation for the society, literati were searching for the possibility of realizing one’s individual value and presenting the complex mood of literati of the last phase of Dynasty.From Yuan Dynasty to Ming Dynasty, complex dramas were in decline from the stages to the scripts. The images of literati were in the process of walking from the society to the schoolroom. Although in the latter part of Ming Dynasty, the characters showed the signs of returning the stages and the society, the fate of decline could not be changed. As their special status in literature, complex dramas factually recorded the innermost of those dramatists. Therefore, in the process of the development of complex dramas, the direct influence of the mentality of the dramatists on the characters was always tangled so much that it influenced the development direction of the whole complex dramas.更多还原