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现存的六种元人水浒戏作品,有着十分相似的创作模式,这同元代社会黑暗现实和宋元人民反抗异族压迫的民族意识有着密切的关系:着力塑造衙内型人物的丑恶形象,宣泄了对元蒙统治者推行民族压迫政策的强烈不满;广泛设计“夺翠”与“偷翠”故事,表现了对异族落后文化习俗带来的伦理观念混乱的社会现状的批判;热情歌颂梁山好汉“替天行道”的英雄行为,宣扬了民族反抗精神和复仇主义思想。这种创作模式与思想倾向对于后来《水浒传》的成书产生了深刻的影响。
The existing six kinds of works of the Water Margin have a very similar mode of creation, which is closely related to the social darkness of the Yuan Dynasty and the national consciousness of the Song and Yuan people’s resistance to alien oppression. They are trying to mold the ugly image of the Yanei-type characters and vent their The widespread dissatisfaction with the policy of national oppression by the rulers of Yuan and Mongolia; the extensive design of the “Cui Cui” and the “Cui Cui” stories show the criticism of the social status quo confused with ethical concepts brought by the backwardness of the alien cultural traditions; Praised Liangshan hero “for Heaven Road ” heroic act, advocated the national spirit of resistance and revenge. This mode of creation and ideological inclination had a profound impact on the later publication of Water Margin.