元散曲中“扬陶抑屈”的价值重估

The Revaluation in the Phenomenon of Commending Tao Yuan-ming but Restraining Qu Yuan in Yuan Opera

元散曲中,涉及陶渊明和屈原的作品很多,但与前代相比,其中所体现出的对二人的评价则大不相同。对陶渊明无一例外地褒奖有嘉,呈现在我们面前的是一位明智、高洁、旷达、淡泊的智者和隐士,一位率性、潇洒、豁达、闲适的饮者和诗人;而对屈原,在承认他文才的基础上,更多的是对于他的思想和行为所投以的质疑、否定,甚至是讥讽的态度,从而形成"扬陶抑屈"的特殊倾向。这一价值重估不仅与元代文人地位低下的社会环境和科举制度废除的政治制度有关,而且与元代士子的处世之道有关。他们把积极入世的屈原视为"仕"一极的代表,把退隐山林的陶渊明视为"隐"一极的典范,在仕与隐的价值取向中更显示了他们抛开"兼济天下"而走"独善其身"的人生选择。

In Yuan Opera, many works refer to Tao Yuan-ming and Qu Yuan, but compared to the previous, they were very different in evaluation from the works. All praised Tao Yuan-ming as a wise and hermit man with wisdom, nobleness, broad-minded and free from seeking fame and wealth, a drinker and poet with natural, pizazz, wide-minded and quiet. Although Qu Yuan was also admitted in the basis of his talent in literature, the more for his thoughts and behaviors were questioned and negated, even in irony attitude. Thus it formed a special tendency to the phenomenon of commending Tao Yuan-ming but restraining Qu Yuan. The reasons were not only about the social environment and political system, but also about the life skills of Yuan Dynasty scholars, and about the value orientation of being officials or being hermits. They took Qu Yuan as a representative of officials but Tao Yuan-ming as one of hermits. From the value orientation, they furthermore showed that their life path was maintained to their own perfect integrity, but not to improving the whole empire.