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在雅文化层面的儒家道德意识的影响下,恩报观念主要有施恩不望报和受恩必报两种恩报原则,这在“三言”中多有表现。但“三言”作为俗文化层面的文学代表,底层民众的功利主义和主客观的双重柔弱等决定了其恩报观念更多的是受到俗文化层面“道德宿命意识”的支配,对恩报难相继、德福不相配的现实予以扭转,形成了俗文化层面的道德宿命的恩报观,如恩报必相继、施恩报恩必有赏、忘恩负义必有罚等。依照所依靠的外界力量的不同,其恩报模式可分为五类,其总的心理特质是功利化、宿命化和宗教崇拜式的期待、验证等,此恩报观进一步表现在历史恩报故事中。“三言”中部分篇目的恩报观念中道德宿命的成分所占比例相对较小,且更富有道德主体意识和悲剧精神,从而使其拥有了感人至深的艺术魅力,进入“三言”第一流作品行列。
Under the influence of the Confucian moral consciousness at the level of Ya culture, there are mainly two principles of grace and disappointment reported by grace and grace, which is manifested in “three words ”. However, as the literary representative of the vulgar cultural level, the utilitarianism of the bottom people and the dual weakness of the subjectivity and subjectivity of the “Three Characters” determine that the concept of “gracefulness” is dominated by the vulgar cultural dimension “consciousness of moral destiny ” On the one hand, the reality that the good news is hard to come by, and the other does not match the real situation are reversed. This has led to the moral report of good faith on the basis of vulgar culture. According to the different external forces that depend on it, the modes of gratitude can be divided into five categories. The general psychological traits are the expectation and verification of utilitarian, fateful and religious worship, etc. The gratitude is further manifested in the historical report of grace Story. The proportion of moral fatalities in part of the “three sentences” of “Three Characters” is relatively small, and it is more rich in the moral subject consciousness and tragedy spirit, so that it has a touching artistic charm and enters the “ Sansan ”first-class work ranks.