從《竇娥冤》、《蝴蝶夢》試析關漢卿戲曲中的天人思想

An Analysis of Guan Hanqing's Views of Heaven-Human Relation from Snow in Midsummer and Butterfly Dream

石紫瀅(Tzu-Ying Shih)

《康大學報》 5卷 (2015/05) Pp. 1-10

摘要

關漢卿在元雜劇史上扮演著相當重要的角色，與白樸、馬致遠、鄭光祖並稱元曲四大家，而在元代鍾嗣承的《錄鬼簿》中更是將關漢卿列為四家之首，足見其在戲曲中之影響力。讀關漢卿的雜劇，可以發現他的作品是十分貼近一般庶民的生活，作品中寄託著對社會上較為弱勢的族群的濃濃關懷，這也是關劇雖傳世多年，卻仍舊深受大家的喜愛。在元代不公平的政治制度下，許多冤獄因而產生，關漢卿的劇本裡有著強烈的天理報應思想，本章試從關漢卿筆下的兩部公案劇劇本探析天人思想。

關鍵字

關漢卿 ； 天人思想 ； 竇娥冤 ； 蝴蝶夢

並列摘要

Guan Hanqing plays a very important role in the Yuan Dynasty. Guan Hanqing, Bai Pu, Ma Zhiyuan and zheng guangzu are called ＂Four great Yuan Dynasty dramatists＂. Whereas Lu Gui Bu was from Zhong Sicheng, thesaid Guan Hanqing was the first dramatist in Yuan Dynasty. When reading Guan Hanqing's drama, one can find that it is very close to the general life of the common people. The drama is about the vulnerable groups in the society, which shows deep concerns about the socially underprivileged. That is why after so many years, people still love his drama. As there was a lot of injustice in the Yuan Dynasty due to its unfair political system, the idea of heavenly retribution was clearly demonstrated in Guan Hanqing's opera. By studying Guan Hanqing's two famous drama scripts, this study revisits Guan Hanqing's views of heaven-human relation.

並列關鍵字

Guan Hanqing ； Snow in Midsummer. ； Butterfly Dream ； heaven-human relation