摘要
汤显祖的"至情观"在其戏剧作品尤其是《牡丹亭》中展露无遗,然而"情"在汤显祖这里至少包含两个方面:一是对"情"的承认和赞美,二是"理"对"情"的引导和收束。前者是论"情"的起点,后者则是"情"的落脚点。因此汤显祖不仅是"情"的歌颂者,而且也是"情"的批判者。
Tang Xianzu＇ s view on ＂the passion＂ in his dramatic works, especially demonstrated in the drama The Pe- ony Pavilion. ＂The passion＂ contains at least two aspects in Tang Xianzu＇ s context： on one hand, he sang for it; on the other hand, he emphasized that it should be ruled by the reason. The former is a starting point, while the latter is the end-resuh. Therefore, Tang Xianzu is not only an advocator for ＂the passion＂, but also an objector.
关键词
汤显祖
《牡丹亭》
至情
理
Tang Xianzu
The Peony Pavilion
passion
reason
