传统戏曲过分强调道德意识,道德标准几乎成了判断一出戏好与坏的唯一圭臬。“弘宣教化”,“寄名托志”差不多成为剧作家的宗旨。其实何止传统戏曲。“文以载道”、“见道造文”历来就是中国古典文学的一大特征。“行之乎仁义之途,游之乎诗书之源”——仁义诗书合而为一,这在五四运动以前,一直是天经地义的事情。传统戏曲形成之际,正是封建道德意识发展到登峰造极之时。“不关风化体,纵好也徒然”,剧作家写戏,是为了“风化”的目的,也就不足为怪 Traditional opera overemphasizes moral awareness, and moral standards have almost become the sole criterion for judging whether a play is good or bad. “Hong Xuan education”, “send name care” almost become the purpose of playwright. In fact, more than traditional drama. “Wen to carry”, “see the truth,” has always been a major feature of Chinese classical literature. “The Line of Allegiance to Benevolence and the Source of Poetry as a Tour” - Renyi poetry and book merge into one, which was a matter of course before the May 4th Movement. The formation of traditional opera, it is the development of feudal moral consciousness to the peak when. “Not related to weathering body, even pretensions in vain,” playwrights writing, is for the purpose of “weathering”, it is not surprising