“情”与“节”的变奏——晚明文人传奇节妇形象略论

The Variation of the “Emotion” and “Chastity”:An Analysis about "the Chaste Widow" in the Late Ming Dynasty Legend

晚明文人传奇中节妇形象的大量出现与"有益风化"的戏曲创作传统、统治上层的提倡、思想界的颂扬等因素密切相关。与明初期传奇中节妇形象更多是囿于道德规范的伦理表达相比,晚明传奇中节妇的"贞节"具备了更多情感的内涵,由"为理守节"转化为"为情守节"。然而,女性贞节内涵"情"的注入是以强化女性贞节观为目的的。文人作家即便受到晚明个性解放思潮的影响,颂情的同时不敢忘却"理"的存在,不约而同立足主流文化填充儒家女性贞节观内涵,将看似不相容的"情"与"贞"以"情教"、"情正"等理论统一在一起。

Virtuous image of a large number of chaste widows in late Ming dynasty legend appears with moral benefit to the traditional opera creation, the promotion of the ruling class and the praise of intellectuals. Virtuous image in the early Ming legend is conditioned by ethical expression, compared to the image in the late Ming dynasty in legend ＂chastity＂ with more emotional connotation, from preserving chastity for ethic into preserving chastity for emotion. However, the feminine chastity ＂the sentiment＂ injection is for the purpose of strengthening women＇s chastity view. Although affected by the trend of personality liberation in late Ming dynasty, Literary writers can＇t forget the existence of ＂the principle＂ when praising love, filling the Confucian view of women＇s chastity based on mainstream culture connotation, and combining the seemingly incompatible ＂emotion＂ and ＂virginity＂ with the theory of ＂emotional education＂ and ＂moral emotion＂.