从“情深”到“情贞”：论孟称舜戏曲对“情”的思考

From “Affectionateness” to “Loyalty”:——On Meng Chengshun's Reflection on “Emotion” in his Operas

孟称舜是晚明重要的言情派戏曲家,其剧作由前期主张"至情"转变为崇尚"情贞",有着特殊的历史"语境"。孟称舜后期主张纳情入理、情理合一,一方面使"理"因为有"情"的驱动而摆脱了行之"勉强"的弊端,另一方面使"情"在制"欲"的过程中被纳入"理"的范畴,这不仅是对程朱理学"存天理,灭人欲"与晚明社会恣情纵欲的双重纠偏,亦是明末"情"、"理"融合趋势的典型体现。对明王朝的忠贞是孟称舜后期剧作转向"情贞"的又一重要原因。孟称舜始终保持着高度的爱国热忱,儿女"情贞"遂成为清初严密文网下表达忠诚于亡明的重要途径。

Meng Chengshun is a great traditional romantic opera writer and critic in the late Ming Dynasty. Within certain historical context, the theme of his operas changed from affectionateness to loyalty. Later in his writing, he integrated reason into emotion. Therefore, on one hand avoiding the rigidness of reason and on the other constraining desires based on reason. This is not only a correction to both the ＂reason preservation and desires extinguishment＂ theories of Neo- Confucianism, and the indulgence in the late Ming Dynasties, but also a symbol of the integration of emotion and reason at that time. Another major reason of his later turn to ＂loyalty＂ is his own loyalty to the Ming Dynasty, out of which he remained very patriotic and circuitously expressed lover＇s loyalty under strict literary surveillance in Qing Dynasty.