CAJ | 학술논문

在晚明的传奇作品中，鬼情戏的创作是丰富多彩的，《红梅记》与《牡丹亭》都是其中的代表。李慧娘和杜丽娘都是性情女子，在剧作中都被剧作家赋予了深刻的思想感情，同时都是为了爱而离魂还魂，但具体的“情”以及对剧情发展的推动作用又有所区别。基于此，通过对两部传奇的“鬼神”形象的对比，分析其各自的特色，推及“鬼神”形象在传奇作品的重要桥梁作用。
재만명적전기작품중，귀정희적창작시봉부다채적，《홍매기》여《모단정》도시기중적대표。리혜낭화두려낭도시성정녀자，재극작중도피극작가부여료심각적사상감정，동시도시위료애이리혼환혼，단구체적“정”이급대극정발전적추동작용우유소구별。기우차，통과대량부전기적“귀신”형상적대비，분석기각자적특색，추급“귀신”형상재전기작품적중요교량작용。
In the works of late Ming Dynasty,the creation of ghost love affairs is colorful. The Legend of Red Plum and The Peony Pavilion are two representative works. Li Huiniang and Du Liniang are both emotional females with deep affection attached by the au-thors and wander from the soul for love. However,their affection and their role in pushing forward the plays are different. Hence,this paper compares the ghost images of the two works,analyzes their respective features and puts forward the bridging role of the ghost im-age in legends.