《牡丹亭》与宗教智慧

Peony Pavilion & Religion Wisdom

《牡丹亭》以梦中相识、慕色而亡、人鬼幽媾、还魂复生的"鬼话"实现了对"至情"的诗性表现和哲理体认,在手法与内蕴的契合上达到了完美的程度。剧作的情节建构、情境营造、人物设计、形象刻画都融进了我国民间广为流播的宗教智慧,但剧作家的主观意图却并不在于张扬宗教教义。剧作出无入有、张皇幽缈的宗教叙事与"为情作使"、彰显人欲的主观意图之间构成一种相反相成的契合,正是这种契合使《牡丹亭》中的"至情"有了超越生死、感人肺腑的艺术张力。

The poetic presentations and philosophical interpretations of ＂ultimate affection＂ in Peony Pavilion are achieved through telling supernatural stories , such as meeting in dreams, man and ghost sexual intercourse, incarnation of ghosts ,etc. Although the writer＇s intention is not to serve religious purpose, religionary folk wisdom is embodied in the plots scenes and character designs of the opera. Monks, ghosts and gods in the opera sympathize with the young couple and help them to move towards love and marriage. The opera also contains mockery of some religious rituals. A contradictory bond, which is created by the interaction between religionary dialogue and concept of human sensibility depicted in the opera, gives the ＂ultimate affection＂ the artistic power of going beyond life and death. Without such religionary wisdom, the glamour of Peony Pavilion will vanish.