情:明中叶后中国古典戏曲批评中的一个关键词

Feelings :A Key Word in the Criticism of Chinese Classical Drama After the Middle Period of Ming Dynasty

"情"是中国古典戏曲批评及戏曲美学中非常重要的一个关键词。情为欲嗜之别称,乃人人皆有的一种心理体验,与生俱来的情质朴、单纯,不假修饰,这种对情之本源的认识直接影响到中国古代的审美趣味和审美判断,以及后世关于情本、性情、情景、情理、意境等诸种哲学、文学的理性思索。从情之内蕴的角度看,魏晋时的"诗缘情"理论摆脱了汉代以来儒家政教和功利思想的束缚,使"情"渐次成为遴选和批评文学的重要杠杆。中国古典戏曲批评非常重视"情",尤至明中叶后,以汤显祖为代表的诸多创作者、批评者纷纷在序、跋、书信、曲品等文章中,以"情"为出发点,表达自己对于戏曲及人生的看法,呈现出一种众士以情品曲的整体态势。真实性、唯一性、可感性是曲论之"情"的基本特征,情的传达建立在对情与景、情与事以及情与理等关系的理解与处理上。

＂Feelings＂ is a key word in the criticism of Chinese classical drama and the aesthetics of traditional Chinese opera. Interpreted as favor, passion and emotions, feelings is only innate with human beings which is simple and genuine in origin, which exerts influence on aesthetic points of value in ancient China and the philosophical reflections on literature. The literary advocacy popular in Wei and Jin dynasties that poetry evolved from feelings which sets up feelings as the yardstick in literary criticism, which was poles apart from the Confucianism and utilitarianism. In ancient China, great importance had been attached to ＂feelings＂ in drama criticism. After middle Ming dynasty, in preface, postscript, letters, and drama, leading dramatists and critics including Tang Xianzu aired their ideas about drama and life at large. Authenticity, uniqueness and sensibility are the basic characteristics of ＂emotion＂ in drama critical theories, and the communication of emotion is based on understanding and dealing with the relationship between emotion and scene.