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本文旨在分析《牡丹亭》结局中“皇帝的出场”为何没有削弱该剧作反封建的思想价值。皇帝作为封建势力的最高代表,在第五十五出《圆驾》中出现,给柳梦梅和杜丽娘赐婚。若没有读过《牡丹亭》,单纯的按照逻辑推理:用封建去对抗封建,归根结底还是没有战胜封建,确实是削弱了反封建意识。但是若仔细阅读《牡丹亭》的一到五十五出,笔者认为,皇帝的出场是自然过渡,并不突兀,也没有削弱整部作品的反封建意识。分析作品,不应切断前后联系,单单只分析一部分。
The purpose of this article is to analyze why the “emperor’s appearance” in the ending of The Peony Pavilion did not weaken the anti-feudal ideological value of the play. As the highest representative of the feudal forces, the emperor appeared in the 55th “Circle Driving” and gave Liu Mengmei and Du Lijiang their weddings. If you have not read the “Peony Pavilion,” simply according to the logical reasoning: to fight against feudal feudalism, after all, did not defeat feudalism, is indeed weakened anti-feudal consciousness. However, if you read “Peony Pavilion” one to fifty-five, I think that the emperor’s appearance is a natural transition, not abrupt, nor did we weaken the anti-feudal consciousness of the entire work. Analysis of the work should not be cut off before and after the link, only part of the analysis.