“真实”的婚变与“虚假”的团圆——戏曲作品婚变情节模式透视下的人情人性

Real Marriage Change and False Reunion——Human Nature under the Perspective of Marriage Change Plot

婚变母题几乎贯穿了整个戏曲史。男子获功名后变心通常是婚变的缘起,遭背叛的女性常会做出两种选择:一种是像"王魁负心,桂英死报"般决绝地以复仇的方式对负心人进行惩罚;另一种则是忍辱负重地选择原谅再与之重归于好,此种方式不仅占据了婚变剧的主流,而且女主人公身份的逆转是遭变夫妇重修旧好的关键前提。南戏《张协状元》,元杂剧《墙头马上》《潇湘夜雨》,明传奇《鸳鸯棒》,京剧《金玉奴》莫不如是。我们将五部作品相对照,从剧中婚姻关系的缔结及两性对待婚姻的不同心态入手,结合莫测的人性,探究婚变发生的必然性与其后得以实现"假团圆"的原因,并讨论该情节模式在后世流变过程中出现的迥异于前代的新样态。

The theme of marriage change almost runs through the history of Xiqu. Men’s change of heart after success is usually the reason of marriage change, Betrayed women tend to make two choices: One is to resolutely punish those who feel bad in the form of revenge. For example,"wangkui betray, Guiying Revenge with death". The other is to live with it and choose to forgive. This way not only occupies the mainstream, but also reverses the heroine’s identity and becomes an important prerequisite for couples’ reconciliation. Such as Zhangxiezhuangyuan(《张协状元》), Qiangtoumashang(《墙头马上》), Xiaoxiangyeyu(《潇湘夜雨》), Yuanyangbang(《鸳鸯棒》)and JinYunu(《金玉奴》). Therefore, five works were compared and analyzed, starting with the conclusion of marriage relationship, and the different attitudes between both sexes, to explore the necessity for divorce and the reason for reunion. We discuss the different forms of the plot pattern in later evolution.