| 汤显祖“至情观”辨析 |
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| 引用本文： | 唐卫萍.汤显祖“至情观”辨析[J].长春师范学院学报,2012(1):105-109. |
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| 作者姓名： | 唐卫萍 |
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| 作者单位： | 北京师范大学文学院 |
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| 摘 要： | 汤显祖的"至情观"在其戏剧作品尤其是《牡丹亭》中展露无遗,然而"情"在汤显祖这里至少包含两个方面:一是对"情"的承认和赞美,二是"理"对"情"的引导和收束。前者是论"情"的起点,后者则是"情"的落脚点。因此汤显祖不仅是"情"的歌颂者,而且也是"情"的批判者。
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| 关 键 词： | 汤显祖 《牡丹亭》 至情 理 |
Discriminating Tang Xianzu’s View on "The Passion" |
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| TANG Wei-ping.Discriminating Tang Xianzu’s View on "The Passion"[J].Journal of Changchun Teachers College,2012(1):105-109. |
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| Authors: | TANG Wei-ping |
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| Institution: | TANG Wei-ping(School of Chinese Language and Literature,Beijing Normal University,Beijing 100875,China) |
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| Abstract: | Tang Xianzu’s view on "the passion" in his dramatic works,especially demonstrated in the drama The Peony Pavilion."The passion" contains at least two aspects in Tang Xianzu’s context: on one hand,he sang for it;on the other hand,he emphasized that it should be ruled by the reason.The former is a starting point,while the latter is the end-result.Therefore,Tang Xianzu is not only an advocator for "the passion",but also an objector. |
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| Keywords: | Tang Xianzu The Peony Pavilion passion reason |
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