论文部分内容阅读
中国古代最早提出典型说的是汤显祖,《牡丹亭记题词》的“第云理之所必无,安知情之所必有邪!”[1]既反对道学家用“天理”的逻辑衡量艺术,又反对用日常生活逻辑来衡量艺术,认为艺术应当按可然律来描写生活,要在个别人物的事迹中见出必然性与普遍性来。汤显祖的典型说是元代之后,小说、戏曲塑造了不少典型人物时期提出的,其思想核心是写人物的感情。明中叶前文坛盛行“代圣人立言”的复古主义,在戏剧方面,高则诚提倡“不关风化体,纵好也徒然”。[2]要求戏剧为名教作宣传。汤显祖的写情说反对这种文艺创作方向,掀起了写情的洪流,形成了才情派。此外,汤显祖之前小说、戏曲作家采用的主要是类型化
In ancient China, the earliest example that Tang Xianzu put forward was “the peony pavilion inscription inscriptions,” “the first cloud of necessity, an awareness of the evil there must be!” [1] both against the Daoist with “natural” Logic weighs art and rejects the art of daily life. It holds that art should describe life according to the law of possibility, and that it is necessary to see the inevitability and universality in the deeds of individual people. Tang Xianzu’s typical is the Yuan Dynasty, novels, dramas shaped a lot of typical characters put forward at the time, the core of his thought is to write the feelings of the characters. In the mid-Ming Dynasty, the literary arena was prevalent in the “vassalism” on behalf of the sage, “In the drama, Gao Zicheng advocated ” indifferent weathering body, even better in fact. " [2] Requiring drama for preaching for propaganda. Tang Xianzu’s writing love objected to this direction of literary and artistic creation, setting off a flood of writing love and formed a talent school. In addition, before Tang Xianzu’s novels, opera writers mainly used typology