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在清代《红楼梦》剧中,许鸿磐的北杂剧《三钗梦》得到了较高的评价。《三钗梦》虽然篇幅短小,但对《红楼梦》精神的理解并不肤浅。原著的悲剧精神、人生感慨和宝钗形象都得到了较好的诠释,显示出作家对原著精神的卓越见识。但限于剧作体例和作家自身的种种局限,《三钗梦》同时存在对原著精神的误解和背离。主要表现在对宝黛爱情关系的不理解、对宝黛及晴雯性格的歪曲背离,以及对《红楼梦》之“梦”的简单化、表面化演绎。
In the “Dream of Red Mansions” drama in the Qing Dynasty, Xu Hongpan’s Bei Zaju “Three Chai Dreams” got a high rating. Although the length of the three hairpin dreams is short, understanding of the spirit of A Dream of Red Mansions is not superficial. The original tragedy spirit, life feeling and the image of Bao Chai have been better interpreted, showing the writer’s excellent knowledge of the original spirit. However, due to the limitations of the style of the dramas and the limitations of the writer himself, there are also misunderstandings and deviations from the spirit of the original motif in “Three Chai Dreams”. Mainly in the relationship between the love of Baoyu do not understand the Bao Dai and Qingwen character deviation from the deviation, as well as the “Dream of Red Mansions,” “Dream” simplistic and superficial interpretation.