元代神仙道化剧的道家情怀及其文化基础(上)

Taoist Thoughts and Cultural Foundation of the Apotheosized and Taoist Drama in Yuan Dynasty(Ⅰ)

元杂剧中通过美化神仙和道教境界的方式来否定现实人生的剧本可称之为神仙道化剧。儒家和道家政治思想和政治精神就作为社会政治和人生理想的传统而被后来人分别继承发扬。元代杂剧在对这两种文化精神的体现和发扬中,更倾向于道家人文情怀。道家情怀展现在文学中,常常体现为自然潇散的人生形式和超然忘我的人生境界,以及由此化生出的混同自然、任性无为、超然不受物累的生命态度,这一倾向在神仙道化剧中体现更突出,而许多人神恋爱方式的剧作所表达的倾向则大多是绝意尘世归依自然,其中主要是对自然的美和隐逸生活加以称赞,并通过这赞美使人世的繁华暗然失色。

In Yuan Dynasty, script, which negates the real life through the way of transfiguring the realm of Taoist and Immortal God, is called immortal drama. The political ideas and spirit of Confucianism and Taoism are carried on and developed from generation to generation as the tradition of social politics and life ideal. Taoism culture was more popular than Confucianism in Yuan Dynasty. Taoist sentiments displayed in literary works often reflect the natural life style, transcendent realm of ecstasy and the attitude towards life arising from them, which is characterized by confusing with nature, being of willful inaction and standing aloof from the material. This tendency is outstanding in immortal dramas. Lovers between human and god portrayed in those dramas prefer to return to nature. And the main purpose of the writers aims at praising the more beautiful and comfortable nature in this way. Meanwhile, compared with natural world, all the splendor of human world is put into shade.