CAJ | 학술논문

作为《牡丹亭》的女性批评者，吴吴山三妇的批评与男性作者及男性批评者对《牡丹亭》有着不同的认识和理解，以女性读者与批评者的身份和眼光，在肯定女主角杜丽娘作为“情”的代表的同时，更强调男主角柳梦梅在“情”与“理”的抗争中的作用与地位，认为柳梦梅与杜丽娘一样，也是“情”的代表人物。在对剧作的结构、语言和人物形象的塑造等艺术手法的批点上，三妇也表现出了女性批评者细腻独到的见解。
작위《모단정》적녀성비평자，오오산삼부적비평여남성작자급남성비평자대《모단정》유착불동적인식화리해，이녀성독자여비평자적신빈화안광，재긍정녀주각두려낭작위“정”적대표적동시，경강조남주각류몽매재“정”여“리”적항쟁중적작용여지위，인위류몽매여두려낭일양，야시“정”적대표인물。재대극작적결구、어언화인물형상적소조등예술수법적비점상，삼부야표현출료녀성비평자세니독도적견해。
As female critics of the Peony Pavilion, the comments of Wu Wushan’ s three wives include different un?derstandings from male critics. From the perspectives of women readers and critics, the three wives affirm the heroine Du Liniang as the the representative of“love”, and emphasize Liu Mengmei’ s role and status in the struggle between“sensibility” and “sense”. They consider Liu Mengmei as the representative of “love” just the same as Du Liniang. As to the comments on the structure, language and the portrait of characters in the play and other artistic practices, the three wives also show the delicate insights of female critics.