中国古代文学中,“痴心女子负心汉”这个主题从《诗经》开始就已得见,比如《氓》、《谷风》等,就已初见“痴心女子负心汉”主题的端倪。在中国古典戏剧舞台上,“痴心女子负心汉”主题更是久演不衰。宋元时期的负心婚变剧《秋胡戏妻》、《潇湘雨》、《琵琶记》都在“痴心女子负心汉的母题下”创建了一种新的模式——“痴心女”向“负心汉”的妥协。而这种主题模式背后所影射出来的,是中国传统社会中根深蒂固的男尊女卑思想。 In the ancient Chinese literature, the theme of “Fussy Woman” was from the beginning of The Book of Songs. For example, the “rogue” and “Gu Feng” . On the stage of the Chinese classical drama, the theme of “Fussy Woman” is even longer. In the Song and Yuan Dynasties, the neglected marriage drama “Qiu Hu’s wife”, “Xiaoxiang rain” and “Pipa” all created a new pattern in the motto of “ ”To“ nasty ”compromise. What emerges from this theme model is the deep-rooted precept of the male superiority in traditional Chinese society.