摘要
明清戏曲中,"渔樵耕牧"形象及"渔樵话"已形成了一种内容相对固定的特殊意象。"渔樵耕牧"不是描写真实的渔夫、樵夫、农民及牧人的生活,而是表现一种散淡闲适、超然物外的情致。"渔樵耕牧"实际是中国古代文士心目中的一种特殊景象,是古代文人们想象出来的一种人生境界——自由超脱、潇洒不羁、与世无争、自得其乐。一般"渔樵话"的关注点都是个人命运的得失,实际上是"文人话",是古代文士们思考权衡人生得失取舍的"心语"。孔尚任的《桃花扇》以"渔樵话"结束全剧,其立足点及精神境界全然不同:它没有对渔樵们散淡生活的夸赞,也不是对过往英雄业绩的"笑谈",而是抒发对历史命运的感悟。这番"渔樵话"不仅使《桃花扇》这部写实的历史剧有了言犹未尽的"余韵",同时,也使这部剧作所描述的历史、所表达的历史观念,有了一种理性的升华。
The image of fisherman, woodman, farmer and herdsman and language of fisherman and woodman has become one kind of unique image with fixed contents in the plays of the Ming and Qing Dynasties. In fact, it is not the real description of the life of fisherman, woodman, farmer and herdsman, but expresses the taste of recreation and relaxation. In other words, it is the special scene existed in ancient China＇ s scholars, expressing their imagined life style. In general, the language of fisherman and woodman focuses on personal fate to judge their life. Fisherman and woodman language puts an end to Peach Blossom Fan, which expresses totally different intention and spirit, that is, it does not praise their life, nor make joke of heroes＇ achievements, but expresses their understanding of fate. In a word, the fisherman and woodman language in Peach Blossom Fan not only expresses more than it is, but also distills the history and historical concept expressed in it.
出处
《南都学坛（南阳师范学院人文社会科学学报）》
2012年第6期46-49,共4页
Academic Forum of Nandu:Journal of the Humanities and Social Sciences of Nanyang Normal University
关键词
《桃花扇》
明清戏曲
渔樵话
历史剧
Peach Blossom Fan
plays in the Ming and Qing Dynasties
fisherman and woodman language
historical plays
