摘要
在《六十种曲》所收录明传奇作品中展现了很多特殊的道姑、尼姑人设,其形象丰富饱满,或是守贞保节,亦或是寻觅真情。内容主要是旦角中途遭遇不幸,被迫投庵出家,最后还俗大团圆结局。剧作家们刻画这些半路出家的道尼形象,与作品本身的剧情发展、当时市民阶层的审美趣味,以及传奇创作传统有关。这种集体创作道尼形象的意义具有可观性,在社会思潮新变下,剧作家们对道尼形象投入了大量的情感和理性反思,不仅表现出同情妇女的生命观感,同时站在宗教反讽的角度来传达肯定人欲的主张。通过塑造这些半路投庵的道尼形象,也从侧面透露出女性个性解放新时代的到来,使得“道姑”“尼姑”这类词在明传奇中有了更深更广的内涵。
Among the Ming legends included in Sixty Kinds of Opera,there are many special fi gures of Taoist nuns and Buddhist nuns with rich and full images,either keeping chastity or looking for true feelings.In the legends,the female lead heroine fi rst suff ers misfortune,then gets forced to be a nun in a temple,and fi nally resumes secular life with a reunion ending.The Taoist nuns portrayed by the playwrights are related to the plot development of the work itself,the aesthetic taste of the citizen class at that time,and the legendary creation tradition.The collective creation of Taoist nuns is of appreciable signifi cance.Under the new changes in social ideological trend,the playwrights have invested a lot of emotional and rational refl ections on the image of Taoist nuns,which refl ects sympathy for women’s life perspective,and convey the assertion of affi rming human desire.By shaping the image of the Taoist nuns who ever became a nun in a Taoist temple,the playwrights reveal the arrival of the new era of female personality liberation,making the term“Taoist nuns”,“Buddhist nuns”have a deeper and broader connotation in the legend of Ming Dynasty.
作者
牛晓玲
Niu Xiaoling(Wenzhou University,Wenzhou 325000,China)
出处
《黑河学院学报》
2023年第4期144-148,共5页
Journal of Heihe University
关键词
《六十种曲》
明传奇
道姑
尼姑
情理合一
Sixty Kinds of Opera
Ming legends
Taoist nuns
Buddhist nuns
integration of emotion and ethics
