明代中晚期文人徐渭在剧作中常常流露出深切的自悼情绪,并由此生发出对现实的反抗与悖逆情绪,这在其杂剧作品《四声猿》中表现尤为突出。这种悖逆主要体现在批判科举、怀疑佛教等方面。首先,在对待科举和官制时,徐渭流露出对封建社会诸种体制强烈的不信任感。其次,在面对甚嚣尘上的宗教热潮时,徐渭又直指佛道压抑人性、虚无缥缈的一面。在整部作品反叛的底色下,徐渭难得地表达出了对于封建孝道的继承与推崇。值得一提的是,《四声猿》的大部分篇目中都出现了早期“女性意识”的痕迹,放诸历史语境来看,这是颇为可贵的,但仍囿于时代而有所保留。 In the middle and late Ming Dynasty, literary writer Xu Wei often showed a deep feeling of self-mourning in his plays and gave birth to the rebellion and disobedience of reality. This is particularly evident in his four-character apes. This kind of disobedience mainly manifests in such aspects as criticizing the imperial examinations and doubting Buddhism. First of all, when dealing with the imperial examinations and official system, Xu Wei shows a strong sense of distrust of the various systems of feudal society. Second, in the face of the rampant religious upsurge, Xu Wei points to the indifference and indignity of Buddhism. Under the background of the rebellion of the entire work, Xu Wei expressed the rare inheritance and respect for feudal filial piety. It is worth mentioning that the traces of early “feminine consciousness” appeared in most of the “four-sighted apes”. This is quite valuable in the historical context, but it is still valuable in the times Reserved.