从《窦娥冤》看中国古典悲剧的审美特征

在以关汉卿《窦娥冤》为代表的中国古典复仇剧中,基本形成了一个从复仇到团圆的特别审美模式。这与西方复仇剧中,“俄底普斯式”、“哈姆莱特式”的悲剧结局有着内涵上的重要区别。中国的传统悲剧往往打上了传统的道德伦理的烙印,传统的审美心理主张哀而不伤,怨而不怒,直接促成了大团圆结局的产生。在充分肯定中国传统悲剧审美模式的同时,也不容忽视其局限性。

Considering the Aesthetic Feature in Chinese classical Tragedy from Doue Wrong

In Chinese classical revenge play, represented by Guan hanqing's Doue Wrong, a special aesthetic model was formed, that is from revenge to reunion. It was quite different from the tragic ending of "Edi-pusi type and Hamlet type" in western revenge plays in intension. Thus Chinese traditional tragedy was often stamped with the brand of traditional moral ethics. The traditional aesthetic psychology, which advocates grief but no sad, resentment but no anger, has brought about a great reunion of ending directly. When fully affirming Chinese traditional tragedy, its limitation could not to be ignored.