论两个“梦”意象构成的浪漫剧及其象征追求——《牡丹亭》与《仲夏夜之梦》比较

On Two Dream-based Romantic Dramas and Their Symbolic Pursuit──Comparison of The Peony Pavilion and The Mid-summer Night Dream

本文对 1 6、 1 7世纪之交两个同时代世界戏剧大师汤显祖与莎士比亚的经典浪漫剧《牡丹亭》与《仲夏夜之梦》作了比较 ,认为“梦”是他们文本构成共同的核心意象 ;而戏剧冲突中所展示的“人”的觉醒也体现着他们的“梦”意象都是对人文主义意绪的象征。《牡丹亭》中写“梦”是转移与升华本能欲望的手段 ,具现为情结化象征追求。《仲夏夜之梦》中写“梦”则是目的 ,是以原型化象征对生命活力作张扬、生存和谐作表现。《牡丹亭》的戏剧结构是从梦幻转向现实 ,以致太现实人性化 ;《仲夏夜之梦》的戏剧结构是从现实转向梦幻 ,以致人性表现太超然化。最后本文认为这两个经典浪漫剧若能互补 ,才是最完美的一道剧坛风景。

This paper is to make a comparative study of two classic romantic dramas written by two great playwrights between 16th and 17th centuries,The Peony Pavilion by Tang Xianzu and The Mid-summer Night Dream by William Shakespeare. It is believed that the dream comes out as the common textual core image in these dramas while the awakening of human consciousness displayed in the theatrical conflicts signifies the symbolism of humanistic mood in the dreams. In The Peony Pavilion the description of dream is a medium to transfer and sublimate the human libido which acts as a complex of symbolic pursuit. The dream in The Mid-summer Night Dream is intended to present an archetypal interpretation of tension and existential harmony towards life. However, the dramatic structure of The Peony Pavilion seems too realistic and personified due to its transition from the fantasy to reality while The Mid-summer Night Dream is much too idealistic with its change from the reality to fantasy. In conclusion the author argues that the complementation of these two dramas may prove perfect in drama writing.