论孟称舜剧作思想的变迁

摘要

Among Linchuan school of Late Ming Dynasty,the dramatic theory of MENG Cheng- shun has rich connotations and outstanding personality. His drama thought inherited TANG Xian- zu,but also has its own original,that is mainly reflected in ＂seems inconsistent with the Confucian ethics, but with it at the end＂ and ＂emotion must be reasonable＂. On the whole,＂the most genuine emotion＂ and ＂emotion must be reasonable＂ on behalf of his drama thought in different periods, and ＂Jiaohong Ji＂ is the bridges of these two stages. From the thought of change,we can see that ＂the most genuine emotion＂ established by TANG Xian-zu has come to an end and turn in Late Ming and early Qing Dynasty.%在晚明“临川派”戏曲家当中，孟称舜的戏曲实践内涵丰富，个性突出。他的剧作思想既有对汤显祖“至情”主张的继承，又有着自己的创见，这主要体现在“始若不正，卒归于正”的言情模式与“情正”思想上。整体上讲，孟称舜的剧作思想，前期以“至情”为代表，后期以“情正”为皈依，其传奇《娇红记》则是这两个阶段过渡的桥梁。从孟称舜剧作思想的变迁中，可以看出由汤显祖构建的“至情”思想于明末清初的归结与转向。