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蒙元之际的中国,是一种特殊的社会形态。一方面,蒙古等北方游牧民族带着浓厚的原始遗风南下,另一方面,他们进入的中土早已是成熟的文明社会。由此而来,野蛮与文明的沟通,整合构成了蒙元之际社会的基本特征。关汉卿戏剧独特的艺术魅力,很大程度上,源于野蛮与文明两种文化形态的整合。以往对关汉卿戏剧的研究,较侧重在民族冲突方面,着眼于对民族压迫的反抗,过分关注和强调社会政治对文学的影响。关汉卿戏剧流露出政治上的压抑感,对蒙元统治并不认同,但是,他的戏剧在许多方面和蒙古为代表的北方游牧民族文化具有相同的走向。这就足以表明,这位伟大的戏剧家对于民族文化的融合,在客观上往往是认同的。学术界普遍认为,作为“普天下郎君领袖,盖世界浪子班头”的关汉卿戏剧,具有明显的通俗化倾向。而另一方面,他又是一位有教养的文人,是受传统文化熏陶的戏剧家,即追求高雅,也不以俗为美,亦雅亦俗,相互碰撞,沟通与整合中自然的流露。
China at the time of the Yuan Dynasty is a special social form. On the one hand, nomadic tribes in Mongolia and other northern nomadic peoples have a strong primitive legacy southward. On the other hand, they have entered a mature civilized society. As a result, the communication and integration between savagery and civilization constitute the basic social characteristics of the Mongolian Yuan Dynasty. The unique artistic charm of Guan Hanqing’s drama stems largely from the integration of two cultural forms, barbarism and civilization. In the past, the study of Guan Hanqing’s plays focused more on ethnic conflicts, focusing on resistance to ethnic oppression, paying more attention and emphasizing the influence of social politics on literature. Guan Hanqing’s drama shows a political sense of repression and does not agree with the rule of the Mongolian Yuan Dynasty. However, his drama has in many respects the same trend as the nomadic northern culture represented by Mongolia. This is enough to show that the great dramatist’s convergence of national culture is often objectively agree. It is generally accepted by academics that as the “leader of the world, the Guan Hanqing plays, which cover the leader of the world’s pride,” have a clear tendency toward popularization. On the other hand, he is an educated literati, a dramatist who is influenced by traditional culture, that is, the pursuit of elegance, not vulgarity, elegance, vulgarity, collision, communication and integration .