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《牡丹亭》之情理衝突與翻轉-兼論「文房四寶」與「花間四友」之寓意

Conflict and Flip between Emotion and Reason of the "Peony Pavilion", Also On the Meaning of "Four Treasures in the Study Room" and "Four Friends in the Flower"

摘要


本論文要探究的論題有二:一是《牡丹亭》中的情理衝突,〈作者題詞〉云:「嗟夫!人世之事,非人世所可盡。自非通人,恆以理相格耳!第云理之所必無,安知情之所必有邪!」筆者欲另闢蹊徑,從人物杜麗娘一夢而亡後,逐一以情動之的對象及過程,亦即經歷胡判官、柳夢梅、石道姑、杜母、春香、陳最良、皇帝、杜寶等人,將這些人從以理相格的思考模式,逐一扭轉成以情相推究,最後,更由客觀事理與主觀情思之異,轉為傳統禮教與自由意志之爭,僵持不下,實為情理衝突之最高潮,也是湯氏情理不相容的思想體現!二是《牡丹亭》除場上盛演不輟外,作為案頭文本閱讀,有些改本或折子戲刪去的內容,並非糟粕,實更具深意,如「文房四寶」、「花間四友」,前者可反映陳最良之迂腐及不懂夫妻情愛。湯顯祖更藉【尾聲】「女弟子則爭箇不求聞達,和男學生一般兒教法。」反諷男女其實差異是甚大的,如果是這個意思,「文房四寶」就成必要的伏筆。後者借花間四友所投胎者皆與春天有關,暗指杜麗娘之罪亦與春天有關。「花間四友」之稱,則與元喬吉《杜牧之詩酒揚州夢》及《李太白匹配金錢記》有極為明顯的承繼關係,也都與婚戀有關。其中蜜蜂更與第七齣〈閨塾〉「蜂穿窗眼咂瓶花」相承接。也有討論《牡丹亭》「局部」改編的狀況,如〈驚夢〉結尾處,杜母或春香喚醒杜麗娘,對主題的體現是不一樣的。〈驚夢〉安排杜麗娘回房作夢,為的就是母親來找她,且驚醒她!兼用了極弔詭的手法,輔以極合「理」的另一病因,驚嚇到「潑新鮮冷汗粘煎,閃的俺心悠步嚲,意輭鬟偏。」反顯得「理」才是真正戕害身心自由的主因!

並列摘要


There are two topics to be explored in this thesis: First, the conflict of reason in "Peony Pavilion", The author wants to find another way. After the death of the character Du, Li-Niang, the object and process of moving one by one, that is, the experience of Hu-Juguan、Liu, Meng-Mei, Shi- Daogu、Du's mother、Chun-Xiang、Chen, Zuo-Liang、Emperor、Du, Bao and others, turned these people into a modest thinking mode, one by one, to be emotionally inferred, and finally, by objective and subjective feelings, The struggle between traditional ethics and free will is deadlocked, and it is the climax of the conflict of reason and reason. Secondly, in addition to the performance of the Peony Pavilion, as the text of the desk reading, some of the contents of the textbook or the deletion of the game are not bad, but they are more profound, such as "Four treasures in the study room" and "Four friends in the flower". There are also discussions about the "partial" adaptation of "Peony Pavilion". For example, at the end of "Frightening Dreams", Du's mother or Chun-Xiang awakens Du Li-Niang, which is different from the theme.

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