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元代是民族、文化大融合的时代,蒙古民族入驻中原,回族先民的西域东迁,东西方的大贯通,使得边疆民族、外来民族的文化在中国戏剧中留下诸多痕迹。表现在语言上,就是戏曲语言中正如王骥德《曲律》所言“多染胡语”①。这种风气一直延宕到明代前期。在外来语言中,作为元朝的统治民族语言的蒙古语,其研究一直受到学界的重视。如戴望舒先生《谈元曲的蒙古方言》(1958)、孙玉溱先生《元杂剧中的蒙古语曲白》(1982)、韩登庸《元杂剧中的少数民族语词》(1983)都推动了戏曲语言的研究,方龄贵先生大著《元
The Yuan Dynasty was a time of great integration of nationalities and cultures. The entry of the Mongolian people into the Central Plains and the return of the ancients to the western area moved eastward and the East and the West became common practice. As a result, the culture of the border and ethnic groups left many traces in the Chinese drama. Performance in the language, that is, as the language of drama, as Wang Ji-de “music” said “more obscenities” ①. This trend has been extended to the early Ming Dynasty. Among the foreign languages, Mongolian, the dominant national language of the Yuan Dynasty, has always been valued by scholars. Such as Dai Wangshu’s “Mongolian Dialect of Yuan Qu Yuan” (1958), Mr. Sun Yutang’s “Mongolian Qu Bai Yuan” (1982), and Han Den Yong’s “Minority Poems of Yuan Zaju” (1983) Study, Mr. Fang Linggui big "yuan