论明清戏曲中梅妃形象的演绎及寄托

The Image of Concubine Mei in Ming and Qing Operas and Its Emotional Sustenance

梅妃事迹不见于正史,亦不见于唐代诗词和杂撰。梅妃是李杨故事在宋代及以后的衍生人物,是李杨故事逐渐戏剧化的产物。在明清戏曲中,梅妃形象日渐丰富,在发展过程中逐步定型。戏曲作家不仅在梅妃形象上赋予美人、才女的标签,并将其视为后宫失意嫔妃的典型代表。梅妃形象在明清戏曲中不仅是写实的后妃形象,更寄托着士大夫文人出身的剧作家的审美理想、君子人格追求以及怀才不遇的身世感慨。

The life story of Concubine Mei cannot be found in official history,nor is it seen in the poetry and miscellaneous writings of the Tang Dynasty.Concubine Mei is a character derived from the story of Li Longji and Yang Guifei in the Song Dynasty and later.She is the product of the gradual dramatization of the story of Li Longji and Yang Guifei.In the operas of the Ming and Qing Dynasties,the image of Concubine Mei became increasingly rich and gradually shaped in the process of development.Opera writers not only gave Concubine Mei the image of beauty and talented woman,but also regarded her as a typical representative of frustrated concubines in the harem.The image of Concubine Mei in the operas of the Ming and Qing Dynasties is not only a realistic image of an imperial concubine,but also the aesthetic ideal and personality pursuit of the playwrights who were born in the scholar-official literati,as well as the emotional sustenance of the life experience of these frustrated playwrights.