明代戏曲评点中的真实论--兼谈评点作为文学思想研究资源问题

Theory of Authenticity in the commentary on Chinese Opera in the Ming Dynasty: Also on the commentary as a resource for research on literary thoughts

明代戏曲评点中,从李卓吾开始的诸多评点者理性而自觉地以"真实"作为批评标准,重视"事真""人真""境真"。同时,他们还对"真实"的内涵进行了扩展,认为要真实地表现生活中的人情物理,能够"传神"。汤显祖《牡丹亭》问世后,更引起评点家们对真实和艺术美关系的思考,认识到"假"中有"真""愈幻愈灵,愈虚愈实"等艺术规律。与此同时,评点批评家们还进一步从真实的观念出发,提出了"化境"的概念,丰富了真实论。由此可见,古代文学评点文献应该被视为重要的文学思想资源。

In the commentary on Chinese Opera in the Ming Dynasty,many critics after Li Zhuojun rationally and self-consciously began to take“authenticity”as the criticism criteria,putting emphasis on authenticity in events,characters and backgrounds.At the same time,they extended the connotation of authenticity,believing that authenticity involves representing physical feelings of the people in life,thus being life-like.And after the birth of Tang Xianzu’s The Peony Pavilion,there arose from critics even more reflections on the relationship between authenticity and art,who recognized artistic regularities such as“the authentic in the fictitious”or“the more phantom,the more healing,and the more fictitious,the more authentic”.Meanwhile,these critics started from the authentic point of view and put forward such concept as“setting the environment”,which enriched the above Theory of Authenticity.Hence,references in the commentary on Chinese ancient literature should be considered as an important resource for literary thoughts.