宗教将世界二重化为神圣世界和世俗世界,神圣源自凡俗众生为超越现实困境而引发的终极关切,世俗生活的真实意义也就建立在领会神圣的基础上。偶神作为巴比伦的塔穆兹、埃及的奥西里斯、希腊的阿多尼斯、印度教的摩醯首罗等创世再生神的象征符号,在中国汉唐之际以“摩醯首罗-维什帕克”名于世。经佛教、祆教等辗转引渡,创世神话运演出“弄傀儡”、弄化生(弄摩睺罗)、傀儡嘉礼(如礼毕)、宋代七巧节、除煞降妖等宗教和礼俗行为,当下傀儡愿戏为其活态传承。除煞·赛神叙事与功利型、情性型、伦理型、政治型等婚姻叙事都是创生神话结构因应中国社会变迁的转换。戏曲叙事结构张力的弱化是对神话结构的消弭,是世俗化的结果,也是其蜕变为案牍文学的深层原因。 Religions double the world into a sacred world and a secular world. Divine origin is derived from the ultimate concern of all the sentient beings to transcend the real predicament. The true meaning of worldly life is also based on the understanding of the divine. As a symbol of the god of regeneration in the world, such as Tammuz in Babylon, Osiris in Egypt, Adonis in Greece, and Moro in the Hindu religion, Shpak “worldly name. After Buddhism, Taoism, etc. were removed to extradite the creation of mythological performance ”get the puppet ", get the students (get Momo Miluo), puppet ceremony (such as ceremony), Song Qiaojie, And etiquette, the puppet vocals of the moment for its live heritage. Apart from the evil narratives and the utilitarian, sentimental, ethical and political narratives, marriage narration is the transformation of the mythological structure of creation in response to the social changes in China. The weakening of the narrative structure tension of the drama is the elimination of the myth structure, the result of secularization and the deep reason of its transformation into the case literature.