试论《牡丹赋》与《牡丹亭》中牡丹形象的文化意蕴

舒元舆《牡丹赋》中的牡丹形象并不具备典型的中唐时期的思想文化特征,至多是对中唐社会做局部短暂的描摹,舒赋的牡丹形象呈现更多的是舒元舆个人的风云际会以及作者大和年间的创作心态。汤显祖《牡丹亭》中的牡丹形象呈现动态发展的特点,牡丹形象的生成既源于明中后期两种文化思潮的撕扯,也是汤显祖个体思想文化的塑成,传达出汤显祖对自由精神的清醒体认和终极追求。《牡丹亭》颇有争议的《圆驾》一出则是汤显祖以"含泪的微笑"的艺术形式,完成了一位情理难谐的洞见者对一位现实社会的接受者的塑造。

Cultural Implication of Peo ny Image in Peony Fu and Peony Pavilion

The peony image in Shu Yuanyu's Peony Fu does not reflect the typical ideological and cultural features in the middle Tang dynasty. At most,it depicts the society partially and shortly. What is more can be seen from this image is the experience and creation psychology of the author. Comparatively,the peony image in Tang Xianxu's Peony Pavilion tends to be changing,expressing his recognition and pursuit for freedom spirit. In the controversial piece of Yuanjia in Peony Pavilion,Tang Xianzu,as a person with insight into the society and unharmonious sense,moulds a character that accepts the practical society in an art form of tearing smile.