论文部分内容阅读
“斩足”是晚明清初渐次发生在《西厢记》评点领域的一种文学现象,指砍掉第五本情节,收局于第四本第四折张生惊梦草桥店。在《西厢记》世俗唱演式微的情形下,文人圈内关于《西厢记》题材情事的强大解读传统逐渐显现其力量,“斩足”因而在评点这种极具文人质素的批评样式中发生。秉承唐宋以来前贤的解读思路,从徐渭到潘廷章等一系列评点家借明清之际的哲思盛风,通过“斩足”积极展现其对农耕文化下国人命运的深刻观照。这恰恰推动了古典戏曲文体独立性与民族性的建构。
“Slashing foot” is a literary phenomenon that gradually took place in the commentaries of The Romance of the Western Chamber in the late Ming and early Qing dynasties. It refers to cutting off the fifth episode and closing the door at the fourth Sichuang Shoumengqiao. In the case of the secular singing performance of The Romance of the Western Chamber, the strong tradition of interpretation in the literati circle about the subject matter of The Romance of the West began to show its strength and thus cut off such criticism that this literary quality is extremely critical occur. Adhering to the interpretation of the predecessors since the Tang and Song dynasties, a series of critics from Xu Wei to Pan Tingzhang borrowed the philosophical spirit of “Feng Zuifu” from the Ming and Qing Dynasties to actively demonstrate their profound contemplation on the fate of Chinese under the farming culture. This precisely promotes the construction of the independence and nationality of classical Chinese opera style.