明代曲论关于戏曲功能的论述很丰富。明代曲论家基于对戏剧性质、特征的认识,注重对戏剧价值的估量和对戏剧本质的探讨,简言之,即对戏曲的社会功能作出不同的解释,归纳起来,可分为四种说法:教化说、主情说、讽谏说和娱乐说。下面试分别给予简要论述。 (一)教化说 教化说是指戏曲具有教育感化观众,从而维护社会秩序为封建政治服务的功能。教化说,源于先秦孔子的儒家文艺思想,《诗大序》说:“风,风也,教也;风以动之,教以化之”。教化说的中心是强调文学艺术为政治教化服务。既然戏曲同诗歌一样具有教育感化人,激发审美感受的作用,那么,把戏曲作为安邦治国的工具,主张戏曲创作应为维护封建道德和封建统治服务,正是传统诗教中诗歌“可以兴,可以观,可以群,可以怨,迩之事父,远之事君”(《论语·阳货》)的儒家文艺思想的继承和发展。 The discourse of Ming Dynasty on opera function is very rich. Based on the understanding of the nature and characteristics of the drama, the Ming Dynasty songwriters pay attention to the evaluation of the value of the drama and the exploration of the nature of the drama. In brief, the social functions of the opera are explained differently. In sum, they can be divided into four kinds: : Evangelic, said the main emotion, satirical and entertainment say. The following test were given a brief discussion. (1) Teach-to-teach Teachings refer to the function of opera to educate the audience and maintain the social order to serve feudal politics. To teach that Confucius originated from the pre-Qin Confucian literature and art, “Poetry Preface” said: “The wind, the wind also, teaching also; the wind to move, teach the”. The center of enlightenment is to emphasize literature and art as a service of political enlightenment. Since opera plays the same role as the poetry in provoking and arousing the aesthetic experience, opera is the tool used by Anbang to rule the country. It is argued that opera creation should serve for safeguarding feudal morality and feudalism. It is precisely the poem “ , You can view, you can group, you can blame, near the parent, Yuan things far ”(“ The Analects of Confucius Yang Fu ”) inheritance and development of Confucian literary thought.