顾随所作杂剧六种,既自觉继承元杂剧的体制规范、结构特色与风格特征,努力维护和传承杂剧的艺术传统,又着意尝试变革杂剧传统的某些方面,在新文化背景下寻求杂剧生存与延续的可能性。顾随杂剧既继承了中国戏曲叙述性与抒情性相结合的剧诗传统,又自觉借鉴和运用西方戏剧观念,寄托着理性精神和哲学智慧,从而在思想内涵和精神指向上与传统戏曲表现出显著不同。顾随一代戏曲家的传奇杂剧创作展现了中国传统戏曲的最后命运和思想艺术光辉,也寄托着对其未来出路和最终命运的沉重思考。

Six kinds of miscellaneous drama created by Gu Sui, which not only consciously inherited Yuan Drama’s institutional norms, the structure characteristics and style features, striving to maintain and pass down its artistic traditions, but deliberately try to change some aspects of traditions, has been seeking the possibility of the survival and continuity in the new cultural context. Gu Sui’s miscellaneous dramas not only inherited the opera-po-etic tradition of Chinese operas’combining narrative with lyrical, but also consciously learned and applied the con-cepts of Western dramas, which was entrusted with the rational spirit and philosophical wisdom, and thus exhibited significantly the ideological connotations and spiritual direction’s differences from the traditional operas. Gu Sui and his generation’s legendary operas showed the final fate and the glorious artistic brilliance of the of traditional Chinese dramas, entrusted with the rational thinking about its future p

《元曲选》是我们研究元杂剧的一座桥梁,王学奇先生的《元曲选校注》更是方便了我们对各个杂剧的理解。然而此书未对某些典故进行解释,本文在已有研究基础上,依据文献典籍中的记载,对二则未释典故进行考证,探讨典故对元杂剧的重要作用。

YuanQuXuan is a bridge we study Yuan drama and Mr. wang Xueji’s Collation and Annotation of YuanQuXuan is more conVenient tool for us to understand the drama. HoweVer,this book did not explain eVery allusion. On the basis of the existing researches, this paper has a textual research on the two uninterpreted allusions to explore the important effect of allusion on Yuan drama.

作为近世文学萌发期的代表性文学样式,元杂剧作品中当然不乏对个人权利和要求的渲染,女性形象对爱情和婚姻的追求是其中的一个重要侧面。但元杂剧中女性形象强烈的依附性人格无法使其承担太多重负,元杂剧作家们在她们身上和相关作品中努力试图的,只是在正统儒学式微的背景下,另辟蹊径,以达到教化的目的。元代婚恋杂剧中的女性形象是中国文学近世性复杂特征的充分体现。

As the symbol in the germination period of Modern Literature, Yuan Opera is full of the demands about individual rights, one important aspect of which is the women pursuit for love and happy marriage.But in fact, the writers of Yuan Opera just try to figure out another way for moralizing in the background of the decline of the classic Confucianism, so the strong dependence in the images of women in Yuan Dynasty cannot carry too much burden of Modernity.The images of women in Yuan Dynasty with Love and marriage theme represent the complexity of Chinese Modern Literature perfectly.

朱有燉杂剧《文殊菩萨降狮子》《蟠桃会》《辰钩月》诸剧对小说《西游记》成书有着重要影响,许多情节为其所吸收;朱有燉对西游故事的接受存在事实可能,吴昌龄、杨景言所作西游杂剧当为其观览;朱有燉及其杂剧在西游故事传播过程中有着承上启下的意义,是中原文化故事系统融合西北故事系统的结果。

Zhu Youdun ’ s Zaju works such as Manjusri Tames the Lion, Festival of Immortal Peach, Chengou Moon significantly impact the writing of the Journey to the West.Many plots in these works are absorbed in the no-vel.Zhu Youdun is likely to have accepted the stories related to the novel and he might appreciate the Zaju works about the westward journey written by Wu Changling and Yang Jingyan .Zhu Youdun and his dramas are a connect-ing link in spread of the stories about the westward journey .This is the result of the integration of central plain cul-ture system and northwest story system .

白朴是元代前期重要作家,有词、曲、杂剧传世,其中以杂剧影响最著。从具体作品与前人评述来看,白朴杂剧的语言风格中体现出了两种不同的审美倾向,即通过精巧意象与绚丽色彩实现的诗词化的艳丽与藉由大量俗语与口语叠词运用而产生的通俗化的俊朗。此二种审美倾向的产生与融合与其生平经历、文学创作和戏剧文体的要求有着密不可分的关系。

Bai Pu ,an important writer in early Yuan Dynasty ,had Ci ,Qu and poetic dramas handed down from generation to generation ,of which poetic dramas were of the most remarkable influence .In terms of his works and predecessors''evaluation ,language style of Bai Pu''s poetic drams revealed two distinct aes-thetic tendencies ,namely poetic beauty and vernacular expression .The generation and combination of two aesthetic tendencies had something to do with his experience ,literature creation and drama requirements .