论明代戏曲的文人化特征(下)

Refinement of drama in the Ming Dynasty

宋元时期的戏曲作家多为民间艺人或下层文人，自元末高 明作《琵琶记》始，文人学士、官僚士夫逐渐取代民间艺人成为戏曲作家的主体。而随着戏 曲作家的文人化，也使得明代的戏曲呈现出与宋元时期戏曲不同的特征。一是出现了具有 不同艺术风格的戏曲作家流派，如五伦派、昆山派、吴江派、临川派等；二是在戏曲的题材 、人物形象、语言、音律等方面都呈现出典雅化的特征。明代戏曲的文人化既提高了戏曲的 文学品位，使得戏曲与诗文一样，具有了经典性，同时也由于其精致典雅后脱离了舞台，异 化为一种案头文学。

Most dramatists in the Song and Yuan Dynasties were artists and literati who were of low strata.From 'Pi pa ji ' on ,the upper l iterati began to take the place of the lower,and this distinguished the dramas in the Ming Dynasty from that in the Song Dynasty. At first ,there ap peared many dramatist groups such as 'Wu lun ', 'Kunshan','Wujiang'and 'L inchuan', and then, dramas tended to be elegent in such aspects as subject matt er,figare,words,and temperament. Drama was then ranked among elegant classics a s poems and prose;on the other hand,it was also taken far from the stage,and bec ame one kind of text only for reading.