淺論葉小紈《鴛鴦夢》的宗教色彩

An Investigation of the Religious Consciousness of Ye Xiaowan's YuanYang Meng (A Summary)

Authors

  • 曾惠仙 (Wai Sin TSANG) 香港大學附屬學院

DOI:

https://doi.org/10.24112/sinohumanitas.162527

Keywords:

葉小紈, 《鴛鴦夢》, 婦女文學, 女性戲曲, 宗教色彩, 神仙道化劇, Ye Xiaowan, YuanYang Meng, drama, religious consciousness, woman's literature

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

《鴛鴦夢》撰於崇禎九年,是葉小紈唯一一部雜劇作品,頗獲後世推崇。古代著名劇作家沈自徵便稱它“補閨秀所未有”,作品足可與喬吉、貫雲石等名家媲美,肯定其在女性戲曲發展上的開創之功。若仔細考察《鴛鴦夢》一劇,不難發現它深受“神仙道化劇”的影響,無論是劇中的人物角色、故事情節和思想意蘊,均富有濃厚的宗教色彩。不過,它不像一般的“神仙道化劇”那樣著重向大衆宣揚宗教思想,以取教化之效。相反,葉小紈透過此劇提倡人生如夢的出世思想,寄託姊妹離世的哀痛,追求心靈上的慰藉,性質偏重個人化,可謂甚有特色。本文主要就這些要點進行仔細的分析,藉以加深學界對《鴛鴦夢》一劇的認識。

Ye Xiaowan 葉小紈, who wrote a play entitled YuanYang Meng《鴛鴦夢》, was one of the female pioneers in drama writing in the late Ming period. But most scholars just have a brief account of her work without appropriate recognition. It is worthwhile putting great emphasis on the study of her play, so as to deepen the understanding of the development of classical woman's drama writings.

This paper decides to investigate the religious consciousness of YuanYang Meng in different aspects, such as role, plot, and connotation. All these prove that this play was greatly influenced by the drama of Taoist Immortals in Yuan Dynasty. However, it differed from those general Taoist Immortals which solely aimed at preaching religious thought. It was tinted with personal sentiments as Ye Xiaowan intended to express her sorrow at her sisters’ death and wish for reunion of them. In this essay, the relationship between religious consciousness and personal emotion would be analyzed.

Published

2010-09-01

How to Cite

曾 惠. (2010). 淺論葉小紈《鴛鴦夢》的宗教色彩: An Investigation of the Religious Consciousness of Ye Xiaowan’s YuanYang Meng (A Summary). 人文中國學報, 16, 219–238. https://doi.org/10.24112/sinohumanitas.162527

Issue

Section

論文

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