论《牡丹亭》对情的塑形

Molding of Love in The Peony Pavilion

在对《牡丹亭》的解读中,“情”始终是一个有效的门径。而《牡丹亭》对情的塑形是含混的。理清这种含混可以使我们时历史流逝的感受变弱,经典的不朽才得以实现。《牡丹亭》中的情是形而上的“情”;它是想符合人伦的情但又不是;情与孝的关系上作者趋于情;欲与情之间作者故意地含混。它不仅仅是对个体情欲的肯定。它通过美化“欲”,将其扩张入已被认可的“情”,由于回转又在讽刺、谐仿情。这种含混是因为晚明价值论的混乱造成的。

In the process of reading The Peony Pavilion, ＂love＂ is always an effective approach. The molding of love in The Peony Pavilion is ambiguous. To clarify the ambiguity may decrease our feeling to the past of history and the immortality of classics could be realized. The love in The Peony Pavilion is a kind of metaphysical ＂love＂; it wants to accord with ethical love but is not ethical love. For the relationship of love and filial piety, the author tends to love; between the desire and love, the author deliberately chooses ambiguity. It is more than the affirma- tion to individual passion. Through the beautification of ＂desire＂, it expanded desire to accepted ＂love＂, but it also turns to satirize and imitate love. This ambiguity was caused by the confusion of axiology in the late Ming Dynasty.