论《长生殿》、《桃花扇》在古代历史剧创作中的典范意义

On The Model Significance of The Palace of Eternal Life and The Peach Blossom Fan in the Creative Patterns of Historical Plays

《长生殿》与《桃花扇》在处理历史素材时所遵循的主导原则是不同的,前者是史为戏用,以剧统史;而后者是以史统戏,以剧述史。不过虽然两剧作者对待史实的态度即曲史观有异,但是他们都追求历史真实感和艺术真实感的交融统一。作为历史剧,《长生殿》与《桃花扇》的创作模式明显好于有违史实的翻案戏,这两部剧作代表了我国古代历史剧创作的两种主导范式。

The dominant principle between The Palace of Eternal Life and The Peac h Blossom Fan was different because the former adhered to that historical data s hould obey plot of a play but the latter held that scenario should express the a uthor's historical views. Even if Hong Sheng and Kong Shangren had different vie ws on the relationship of history and opera, their dramas were greatly successfu l because they had sense of reality in history and artistic attainment. As histo rical plays, the creative patterns of The Palace of Eternal Life and The P each Blossom Fan were better than representing operas and they stood for the t wo dominant patterns of Chinese historical operas.