CAJ | 학술논문

司马相如与卓文君的故事是明清戏剧的重要题材。明初的相如文君戏虽有对私情的欣赏,但道德教化是其根本旨归;到明中叶以后,此戏则高举情之大纛,奏响了至情的强音;到清代,相如文君戏则寄予了作家的忠君报国梦,从而完成了一个否定之否定的回归思想历程。通过梳理明清相如文君戏中情与理的嬗变,其间作家个人的思想倾向、襟怀抱负与时代社会潮流的关系昭然若揭。
사마상여여탁문군적고사시명청희극적중요제재。명초적상여문군희수유대사정적흔상,단도덕교화시기근본지귀;도명중협이후,차희칙고거정지대독,주향료지정적강음;도청대,상여문군희칙기여료작가적충군보국몽,종이완성료일개부정지부정적회귀사상역정。통과소리명청상여문군희중정여리적선변,기간작가개인적사상경향、금부포부여시대사회조류적관계소연약게。
The story of Sima Xiangru and Zuo Wenjun was an important theme of the play in the Ming and Qing Dynasty.In the early Ming dynasty,although the private feeling of Sima Xiangru and Zuo Wenjun was appreciated,the moral teaching was the final purpose.After the middle Qing dynasty,the play emphasized the emotion.To the Qing dynasty,the play was endowed with writers＇ dream of being loyal to rulers and serving the country worthily,completing the ideological return journey from negation to negation.This paper analyses the evolution of emotion and reason in the play of Sima Xiangru and Zuo Wenjun of the Ming and Qing dynasty to find the relation between the writers＇ ideological trend and ambition and the social trend.