汤显祖的“摹情诉梦”观念及其戏剧实践——以《汤显祖批评花间集》和《牡丹亭》为中心的探讨

Tang Xianzu’s Concept of "Describing Feelings and Telling Dreams" and His Dramatic Practice——A Discussion Centered on Tang Xianzu’s Criticism of Huajian Ci and The Peony Pavilion

《汤显祖批评花间集》中体现出的“摹情诉梦”词学观念,与汤氏《牡丹亭》的创作有诸多内在关联;《牡丹亭》人物形象塑造、文学空间构造、主题精神凝练、叙事艺术发展等方面,也与《汤显祖批评花间集》“摹情诉梦”的理论与实践追求相一致。从《汤显祖批评花间集》的序、跋、评点及明清文献的记载来看,遽然论定其为伪书尚缺乏足够的依据。即便该集为伪书,伪作者的意图也是努力接近汤显祖的词学观的,其观点本身也有价值及影响力。在直接证据不足的情况下,从《汤显祖批评花间集》的核心观念入手探讨其与汤氏创作理念的关系或是一条可以期待的路径。

Tang Xianzu’s concept of"depicting feelings and telling dreams"embodied in Tang Xianzu’s Criticism of Huajian Ci has many internal connections with Tang’s creation of The Peony Pavilion.The characterization,literary space structure,theme spirit refinement,narrative art development and other aspects of The Peony Pavilion are also consistent with the theoretical and practical pursuit of"depicting feelings and telling dreams"in Tang Xianzu’s Criticism of Huajian Ci.Judging from the preface,postscript,comments and records of Ming and Qing dynasties documents of Tang Xianzu’s Criticism of Hua Jian Ci,there is still insufficient basis for thorough determining it as a fake book.Even if it is a fake book,the intention of the fake author is to try to approach Tang Xianzu’s view of Ci,which itself has value and influence.In the case of insufficient direct evidence,it may be an expectable path to explore the relationship between Tang Xianzu’s Criticism of Huajian Ci and Tang’s creative idea from the core concept of this criticism.