试论李玉婚恋传奇中的“重理轻情”现象及其积极意义——以《永团圆》《占花魁》为例

On Li Yu's Idea of Rationality over Emotionality and Its Active Significance in his Love and Marriage Legends——Taking "Permanent Reunion" and "Seizing the Unsurpassed Beauty" as examples

李玉是晚明至清初的戏曲大师。他在晚明创作的以婚恋为题材的几部传奇,摆脱了明末戏曲创作中宣扬低俗情欲的趋向,承袭了高明"不关风化体,纵好也枉然"的创作理念,试图以伦理道德来挽救晚明颓靡败坏的社会风气,对情与理关系的处理从汤显祖的"情而已"转变至理为先,把情放在次要的位置,以理辖情,以理代情。若脱离时代背景、单从文本的艺术美学角度来分析,这种创作指向在婚恋题材的创作中并不可取;但在特殊的社会状况和思想背景下,这样的创作就有其积极和进步的意义。

Li Yu was a drama master of the transitional period of the Ming Dynasty and Qing Dynasty. His several romance dramas written in late Ming Dynasty broke away from the tendency of advocating vul- gar sexual passion reflected at the time by inheriting Gao Ming＇s writing notion of ＂Disregarding the style of decency, / It＇s futile even though it is nice. ＂ He tried to save the dejected and corrupted social situation of the late Ming Dynasty with his ethic morality. In treating the relationship＇between emotionality and ra- tionality, he shifted to the priority of rationality from Tang Xian-zu＇s overemphasis to emotionality, and placed emotion to the minor position, controlling emotion with reason, and replacing emotion with reason. If breaking away from the epochal background and merely analyzing from the artistic and aesthetic perspective of the texts, this kind of writing tendency was not suitable in love and marriage subject. But under the special social condition and ideological background, this writing had an active and advanced significance.