摘要
在隋唐就被神化、宋元明清又不断被最高统治者褒封的关羽,是深受尊崇的佛道之神、世俗之圣。但元杂剧中的关羽形象则复杂矛盾。在张飞为主角的剧中,关羽是胆小懦弱、屈从权威、逆来顺受的庸夫;而在关羽为主角的剧中,关羽是义薄云天的英雄。元杂剧中关羽形象矛盾的成因,一是对关羽形象的建构文学作品较之佛道及世俗道德等抽象意识形态相对滞后,元代其文学形象尚未达到其所"应有"的"神"、"圣"境界;二是如今看到的元杂剧中完美的关羽形象多为明刊本,经过明代意识形态的剪裁。研究元杂剧中关羽形象的矛盾及其成因对探讨关羽被神化的过程很有价值。
Guan Yu, deified in Sui and Tang dynasties, and continually praised by supreme rulers in Song, Yuan, Ming, and Qing dynasties, is a profoundly worshiped divinity in Buddhism and Daoism circle and a saint in secular world. However, the image of Guan Yu depicted in Yuan zaju opera is complex and full of contradiction. In operas taking Zhang Fei as the protagonist, Guan Yu becomes a common person who is timid, coward, submits to authority, and resigns himself to adversity. Yet in operas taking Guan Yu as the protagonist, he then becomes a righteous hero. There are two reasons for this. Firstly, as regards to the construction of the image of Guan Yu, literary works is rela tively lagging behind abstract ideology such as Buddhism, Daoism, and secular morality. Secondly, the perfect image of Guan Yu is mainly depicted in Ming edition Yuan zaju opera, and it has already clipped by Ming ideology. Therefore, it is very significant to discuss the contradiction of the image of Guan Yu and its cause for the studying of the course of deified Guan Yu.
出处
《艺术百家》
CSSCI
北大核心
2014年第3期145-149,126,共6页
Hundred Schools In Arts
