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关汉卿创作的《单刀会》不仅表现出鲜明的汉正统思想,且塑造的关公形象颇具神性,对后世三国题材作品的思想倾向和关羽形象造成深远影响,并成为大量民间庙会(尤其是关王庙会)演出的重要剧目,与民间祀神活动密切相关。前人对《单刀会》关注颇多,对关汉卿创作该剧的原因也有较多探讨。刘知渐和刘荫柏认为该剧是为民间赛村社祀神活动创作而成,宁宗一、王安祈等持反对意见。本文在综合两种观点的基础上,主要从宋元之际正统意识形态和民间信仰对关汉卿《单刀会》创作的双重渗透来进行较为中肯的分析和论述,以期对《单刀会》创作及其思想有进一步的认识。
Guan Yongqing’s “One-Piece Conference” not only shows distinctive Han orthodox thoughts, but also shapes the image of Guan Gong rather divinely, exerting a far-reaching influence on the ideological tendencies of the post-Three Kingdoms themes and the image of Guan Yu and becoming a large number of folk temple festivals Temple) performances of the important repertoires, and folk activities are closely related to God. The predecessors paid a lot of attention to the “single-pole conference” and also discussed more about the reasons why Guan Hanqing wrote the drama. Liu Zhimin and Liu Yindai think the play was created for the sacrificial god activities of the folk race village community. Ning Zongyi and Wang Anqi held objections. On the basis of synthesizing two kinds of views, this article mainly analyzes and discusses the dual infiltration of Guan Hanqing’s “One-Sided Society” from the orthodox ideology and folk beliefs during the Song and Yuan Dynasties, Further understanding.