【摘要】：作為中國傳統(tǒng)命運(yùn)觀的核心部分,宿命觀念早在原始社會就已萌芽,時(shí)至封建社會逐漸與宗教、文化相結(jié)合,并在人們的思想意識中日益根深蒂固。宿命觀念不僅對人們的日常生活產(chǎn)生了影響,而且對文學(xué)與戲曲創(chuàng)作也起著一定的主導(dǎo)作用。以《六十種曲》為例,其中體現(xiàn)宿命觀念的作品多達(dá)五十一部,不但數(shù)量可觀,幾乎囊括了明傳奇的經(jīng)典之作,而且各種題材的傳奇作品都對宿命觀念有所涉及。在《六十種曲》的作品中,宿命現(xiàn)象的預(yù)示方式多種多樣,主要包括神yG告知、占卜、相術(shù)、夢境、征兆、諺語、俗語等幾種。在有些作品中,多種預(yù)示方式交錯(cuò)出現(xiàn),增強(qiáng)了宿命觀念的說服力,也為傳奇創(chuàng)作增添了神秘色彩。在《六十種曲》的傳奇作品中,宿命觀念主要體現(xiàn)在科考、仕途、婚姻、子女、人生結(jié)局等多個(gè)方面,可以說生死禍福、功名仕途、愛情婚姻等人生的幾個(gè)方面都有命中注定的成分。宿命觀念與傳奇作品的情節(jié)結(jié)構(gòu)及人物性格塑造之間的關(guān)系非常密切。以故事情節(jié)的編織、推進(jìn)而言,宿命觀念既對其發(fā)展起著推動(dòng)作用,有時(shí)也起到阻礙作用。宿命觀念很多時(shí)候可以起到點(diǎn)化題目、揭示主題、暗示劇情的作用,為作品增添了含蓄蘊(yùn)藉之美,不過,有些作品中明確揭示主人公命運(yùn)的關(guān)目卻又相對局限了故事情節(jié)的發(fā)展,使懸念設(shè)置失彩,觀眾不能得到完全的滿足,削弱了劇作的吸引力與感染力。以人物性格塑造而言,《六十種曲》中的作品通過塑造知命者與不知命者兩種人物形象,展示了不同人物的不同性格側(cè)面。尤其是宿命觀念在青年男女的交往過程中所產(chǎn)生的影響,實(shí)際上也豐富了男女主人公的性格特征。在明傳奇中出現(xiàn)大量體現(xiàn)宿命觀念的作品有其深刻的成因。首先,儒家的“死生有命,富貴在天”思想、佛教的因果報(bào)應(yīng)論以及道教的“承負(fù)說”相輔相成,為宿命觀念的進(jìn)一步發(fā)展提供了契機(jī);其次,明代士人的命運(yùn)觀及其傳“奇”的創(chuàng)作追求指引著他們的文學(xué)與戲曲創(chuàng)作;最后,觀眾對于戲曲作品中宿命觀念的接受、認(rèn)可也是促使傳奇創(chuàng)作中宿命現(xiàn)象出現(xiàn)的重要原因之一。
[Abstract]:As the core part of Chinese traditional view of destiny, the concept of fatalism has sprouted as early as in primitive society, and the feudal society gradually combined with religion and culture, and it is increasingly deeply rooted in people's ideology. The concept of fatalism not only influences people's daily life, but also plays a leading role in literature and opera creation. Taking "60 kinds of songs" as an example, there are as many as 51 works which embody the concept of fatalism. Not only a considerable number of works, almost including the classic works of the Ming Dynasty legend, but also all kinds of legendary works on the concept of fate are involved. In the works of "Sixty songs", there are many ways to predict the phenomenon of fatalism, including yG, divination, photography, dreams, signs, proverbs, idioms and so on. In some works, a variety of ways of prediction intertwined, enhanced the persuasion of the concept of fate, but also added mystery to the creation of legend. In the legendary works of "Sixty songs", the concept of fatalism is mainly embodied in many aspects, such as scientific research, official career, marriage, children, and the outcome of life. Love, marriage, and other aspects of life are doomed elements. The concept of fatalism is closely related to the plot structure and character shaping of the legendary works. In terms of the weaving and advancing of the story plot, the concept of fatalism not only promotes its development, but also hinders it sometimes. The concept of destiny can often serve as a point of view, revealing the theme and implying the role of the plot, adding an implicit beauty to the work, however, Some of the works clearly reveal the fate of the protagonist but the development of the story is relatively limited, so that the suspense set loss of color, the audience can not be completely satisfied, weakening the attraction and appeal of the play. As far as character shaping is concerned, the works in 60 kinds of songs show the different character profiles of different characters by creating two kinds of characters: the person who knows the destiny and the person who does not know the fate. In particular, the influence of fatalism on the communication between young men and women actually enriches the characters of the protagonists and heroines. The emergence of a large number of works embodying the concept of fatalism in the legend of the Ming Dynasty has its profound causes. First of all, the Confucian thought of "the dead have the destiny, the rich and the noble in heaven", the theory of karma in Buddhism and the Taoist theory of "bearing the burden" complement each other, which provides an opportunity for the further development of the concept of fatalism. Secondly, the Ming Dynasty scholar's destiny view and its biography "strange" creation pursue to guide their literature and the opera creation; Finally, the audience's acceptance of the concept of fatalism in drama works is also one of the important reasons to promote the phenomenon of fate in the creation of legend.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.37

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本文編號：2321029