| 论元曲隐逸剧的儒道之别及时代特征 |
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| 引用本文： | 田同旭.论元曲隐逸剧的儒道之别及时代特征[J].东南大学学报(哲学社会科学版),2008,10(3):73-80. |
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| 作者姓名： | 田同旭 |
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| 作者单位： | 山西大学,文学院,山西,太原,030006 |
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| 摘 要： | 元曲神仙道化剧和隐居乐道剧表现出共同的隐逸情调,学界论述元曲隐逸情调时,常将二者混为一谈。其实二者各有特点:神仙道化剧主要表现道家(教)的隐逸思想,隐居乐道剧主要表现儒家的隐逸思想。同时,元曲中的隐逸情调,不同于历代隐逸思潮而有自己的时代特点:不论无道有道,都要隐逸;其隐逸并非个别现象,而是全社会的大逃逸,由此形成独特的元曲隐逸文化。
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| 关 键 词： | 隐逸情调 儒道有别 无道有道皆隐 全社会大逃逸 |
| 文章编号： | 1671-511X(2008)03-0073-08 |
| 修稿时间： | 2007年12月14 |
On differences between two kinds of Yuan operas and their social background |
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| Abstract: | Despite the fact that both the opera of immortality and the opera of self-cultivation reflect the appeal for reclusion,they have different features.The opera of immortality expresses the reclusive view of Taoism while the opera of self-cultivation reveals that of Confucianism.Moreover,the appeal for reclusion reflected in Yuan operas has the characteristics of its own social background.This reclusion is dominant not only in operas,but also permeates the whole society,which composes the unique culture of reclusion embodied in Yuan operas. |
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