论文部分内容阅读
历来评点与研究者受文本和汤显祖《题词》的影响,大多视《牡丹亭》为汤显祖“至情”理想的艺术体现,而视杜丽娘为“至情”的化身。如清代著名的女性评点本《吴吴山三妇合评〈牡丹亭〉》中多次称杜丽娘为“情至”;~②近代著名史学家陈寅恪也将杜丽娘誉为“情之最上者”~③,也就是“至情”的代表;当代持此论者更为多见,如台湾学者王瑷玲认为“在一系列的矛盾冲突中,杜丽娘始终如一,执着地追求真实的自我。因梦生情,为情而死,生生死死,总是为求
Historically, there has been a great deal of criticism that researchers are affected by the texts and the inscriptions by Tang Xianzu, most of which regard the peony pavilion as the embodiment of Tang Xianzu’s idealism. For example, the well-known women in the Qing Dynasty commented on this ”Wu Wushan tripartite review “ repeatedly called Du Li Niang ”love to“; ~ ② modern famous historian Chen Yin Ke also Du Li Niang as ”~ “, That is ”love “ representative; Contemporary hold this theory is more common, such as Taiwan scholar Wang Lingling that ”in a series of conflicts and conflicts, Du Li Niang consistent, dedicated pursuit of truth The ego.Due to dreams, love and death, life and death, always seeking