《六十种曲》作品中的宿命观念研究

发布时间：2018-11-09 16:59

【摘要】：作为中国传统命运观的核心部分,宿命观念早在原始社会就已萌芽,时至封建社会逐渐与宗教、文化相结合,并在人们的思想意识中日益根深蒂固。宿命观念不仅对人们的日常生活产生了影响,而且对文学与戏曲创作也起着一定的主导作用。以《六十种曲》为例,其中体现宿命观念的作品多达五十一部,不但数量可观,几乎囊括了明传奇的经典之作,而且各种题材的传奇作品都对宿命观念有所涉及。在《六十种曲》的作品中,宿命现象的预示方式多种多样,主要包括神yG告知、占卜、相术、梦境、征兆、谚语、俗语等几种。在有些作品中,多种预示方式交错出现,增强了宿命观念的说服力,也为传奇创作增添了神秘色彩。在《六十种曲》的传奇作品中,宿命观念主要体现在科考、仕途、婚姻、子女、人生结局等多个方面,可以说生死祸福、功名仕途、爱情婚姻等人生的几个方面都有命中注定的成分。宿命观念与传奇作品的情节结构及人物性格塑造之间的关系非常密切。以故事情节的编织、推进而言,宿命观念既对其发展起着推动作用,有时也起到阻碍作用。宿命观念很多时候可以起到点化题目、揭示主题、暗示剧情的作用,为作品增添了含蓄蕴藉之美,不过,有些作品中明确揭示主人公命运的关目却又相对局限了故事情节的发展,使悬念设置失彩,观众不能得到完全的满足,削弱了剧作的吸引力与感染力。以人物性格塑造而言,《六十种曲》中的作品通过塑造知命者与不知命者两种人物形象,展示了不同人物的不同性格侧面。尤其是宿命观念在青年男女的交往过程中所产生的影响,实际上也丰富了男女主人公的性格特征。在明传奇中出现大量体现宿命观念的作品有其深刻的成因。首先,儒家的“死生有命,富贵在天”思想、佛教的因果报应论以及道教的“承负说”相辅相成,为宿命观念的进一步发展提供了契机;其次,明代士人的命运观及其传“奇”的创作追求指引着他们的文学与戏曲创作;最后,观众对于戏曲作品中宿命观念的接受、认可也是促使传奇创作中宿命现象出现的重要原因之一。
[Abstract]:As the core part of Chinese traditional view of destiny, the concept of fatalism has sprouted as early as in primitive society, and the feudal society gradually combined with religion and culture, and it is increasingly deeply rooted in people's ideology. The concept of fatalism not only influences people's daily life, but also plays a leading role in literature and opera creation. Taking "60 kinds of songs" as an example, there are as many as 51 works which embody the concept of fatalism. Not only a considerable number of works, almost including the classic works of the Ming Dynasty legend, but also all kinds of legendary works on the concept of fate are involved. In the works of "Sixty songs", there are many ways to predict the phenomenon of fatalism, including yG, divination, photography, dreams, signs, proverbs, idioms and so on. In some works, a variety of ways of prediction intertwined, enhanced the persuasion of the concept of fate, but also added mystery to the creation of legend. In the legendary works of "Sixty songs", the concept of fatalism is mainly embodied in many aspects, such as scientific research, official career, marriage, children, and the outcome of life. Love, marriage, and other aspects of life are doomed elements. The concept of fatalism is closely related to the plot structure and character shaping of the legendary works. In terms of the weaving and advancing of the story plot, the concept of fatalism not only promotes its development, but also hinders it sometimes. The concept of destiny can often serve as a point of view, revealing the theme and implying the role of the plot, adding an implicit beauty to the work, however, Some of the works clearly reveal the fate of the protagonist but the development of the story is relatively limited, so that the suspense set loss of color, the audience can not be completely satisfied, weakening the attraction and appeal of the play. As far as character shaping is concerned, the works in 60 kinds of songs show the different character profiles of different characters by creating two kinds of characters: the person who knows the destiny and the person who does not know the fate. In particular, the influence of fatalism on the communication between young men and women actually enriches the characters of the protagonists and heroines. The emergence of a large number of works embodying the concept of fatalism in the legend of the Ming Dynasty has its profound causes. First of all, the Confucian thought of "the dead have the destiny, the rich and the noble in heaven", the theory of karma in Buddhism and the Taoist theory of "bearing the burden" complement each other, which provides an opportunity for the further development of the concept of fatalism. Secondly, the Ming Dynasty scholar's destiny view and its biography "strange" creation pursue to guide their literature and the opera creation; Finally, the audience's acceptance of the concept of fatalism in drama works is also one of the important reasons to promote the phenomenon of fate in the creation of legend.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.37

【参考文献】