《元曲选》与《六十种曲》婚恋剧女主人公群像比较研究.pdfVIP

I 摘要 明人臧懋循、毛晋分别编有大型戏曲总集 《元曲选》和 《六十种曲》， 前者收元杂剧，后者主要收明传奇，所收作品中各有婚恋剧二十余种。《元 曲选》和《六十种曲》婚恋剧女主人公的群体形象，有同有异：以身份 地位而言，这些女主人公可分为闺阁女子、风尘女子、其他三类，而这 三类形象在两种总集中所占的比例有异，说明元、明两代的剧作者或选 者对各类女性的关注程度不一样。以婚恋态度而言，均可分为主动争取 和被动接受两类，但表现出来的婚恋要求、贞节观各有差异，说明不同 身份地位以及处于不同社会环境的女性受到封建礼教的束缚不一样。以 婚恋障碍而言，都存在家庭阻力、小人作梗及其他因素，但《六十种曲》 中的女主人公受到的束缚、阻力都比《元曲选》中的女主人公要大，女 主人公的命运也更为坎坷。以婚恋结局而言，则基本上都是大团圆的结 局，男女主人公的结合都是以男主人公或得功名、或立功得官归来为条 件的。形成这些异同的原因主要有：“同”的因素，主要是封建道德伦理 观念的普遍浸润与传统的大致相同的文学观；“异”的因素，主要有时代 因素、作者与选者因素等。 关键词： 《元曲选》婚恋剧；《六十种曲》婚恋剧；女主人公群体； 比较 II ABSTRACT ZangMaoXun and MaoJin respectively wrote a large collection of the drama YuanQuXuan and LiuShiZhongQu , the former contains Yuan dramas and the latter is mainly accept the Ming legends. Each work has different romantic dramas over twenty. The heroines in the romantic drama of YuanQuXuan and LiuShiZhongQu , have the same points and they also have difference .For example: status concerned, the heroines can be divided into fair maiden, romantic women and the others, They appear in the works at different rates, So there are differences among Yuan and Ming dynasties writers or choosers to all kinds of women who concern are not the same. Attitude concerned, it has active and passive accept two kinds. The two generations of different status of women in Yuan, Ming have different feudal moral tethers, so it is shown by the romantic requirements, chastity views are also different. With marriage obstacle concerned, such as family resistance, villains and so on. For family resistance, whether because of the relationships or because of the ordinary relationship, the resistance that t