论文部分内容阅读
崔莺莺与张生的爱情对封建势力的对抗堪称创作模式的典范。情欲的释放与礼教的约束衍化为一种势力对抗,这种创作趋势表明礼教的克制向人类爱欲的让步,而典型大团圆式的结局又恰是礼教的人性化回归。本文旨在从情欲角度审视传统文化中礼教对人的情欲观的规约。元稹借着《莺莺传》中张生的身份,抒发着对儿时旧情的念恋,为了还这场悲剧一个合理的借口,不遗余力地将始乱终弃的张生塑造为一个“隐忍”的“君子”。也许直至后半生,他都未完全走出对莺莺的眷恋。终于梦回大元,再渡西厢,重遇旧爱,在王实甫的笔下,张生已成长为多情多义的才子,结局也以“有情人终成眷属”圆梦。
The confrontation between feudal forces and Cui Yingying and Zhang Sheng’s love can be regarded as a model of creative mode. The release of eroticism and the restriction of ethics and rites evolved into a kind of confrontation of forces. This trend of creation shows that the restraint of ethics and rites condoned to human beings, and the typical happy ending is the return of humanity of rites and ethics. The purpose of this article is to examine the protocol of rituals and human beings in the traditional culture from the perspective of sexual desire. Yuan Zhen by Zhang Ying’s identity in “The Story of Yingying”, expressed his love for childhood reincarnation, in order to make the tragedy a reasonable excuse to spare no effort to the chaos Zhang Zhaonai as a Forbearance “” gentleman “. Maybe until the second half of life, he did not completely out of nostalgia for Yingying. Finally dreamed of Tai Yuen, and then crossed the West Wing, rebuilt old love, in the pen of Wang Shih-fu, Zhang Sheng has grown into a multi-emotional and righteous genius, ending also ”lovers get married " dream.