官史与戏剧中杨贵妃之死的文化意蕴之比较
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摘要
杨贵妃之死的叙述者在由封建史官向诗人剧作家转变的同时,历史和文学文本中的贵妃之死所投射出的文化意蕴也发生了根本性变化。受"以史资政"观念的影响,史官们在还原杨贵妃之死的历史场景的笔墨中,更多地投射出忠奸之争、正邪之辨的意味。从《梧桐雨》到《长生殿》,李、杨故事在细节及主题上经过白朴、洪昇二人历时近四百年的接力虚构和深挖,杨贵妃之死这一源出史实的舞台故事不仅成为中国古典戏剧中最能撼人心魄、最具诗化意味的死亡事件,而且也成了映射易代之际士人生命悲愁和精神创伤的经典文学镜像。诗意地吟咏生命底色中永不消歇的精神靡音,提炼并释放永恒的生命悲愁,是文学的一大使命。
The narrator of the death of Yang had changed from feudal official historian to poetic dramatist,meanwhile,cultural connotation of the death of Yang in historical text and literature text had the fundamental change. Under the influence of the concept of "History as a Mirror",the scene of the death of Yang restored by the official historian projected more meaning as faithful evil struggle or distinguishing between good and evil. From Wu Tong Yu to Chang Sheng Dian,after continuously fiction and dig nearly four hundred years on the details and theme in the story that Lung-chi lee and Yang deduced,the stage story of death of Yang originated from the historical facts not only has became most impressive and the most poetic death incident,but has also became the classic literature image that had reflected the life sorrow and mental traumas belong to intellectuals who lived in the era of dynastic transition. Intone decadent music in spiritual world poetically that never disappear,refine and release eternal life sorrow,is a great mission of literature.
The narrator of the death of Yang had changed from feudal official historian to poetic dramatist,meanwhile,cultural connotation of the death of Yang in historical text and literature text had the fundamental change. Under the influence of the concept of "History as a Mirror",the scene of the death of Yang restored by the official historian projected more meaning as faithful evil struggle or distinguishing between good and evil. From Wu Tong Yu to Chang Sheng Dian,after continuously fiction and dig nearly four hundred years on the details and theme in the story that Lung-chi lee and Yang deduced,the stage story of death of Yang originated from the historical facts not only has became most impressive and the most poetic death incident,but has also became the classic literature image that had reflected the life sorrow and mental traumas belong to intellectuals who lived in the era of dynastic transition. Intone decadent music in spiritual world poetically that never disappear,refine and release eternal life sorrow,is a great mission of literature.
引文
[1]张燕瑾.中国古代戏曲专题[M].北京:高等教育出版社,2007.
[2]司马光.资治通鉴[M].北京:中华书局,2007
[3]刘昫,等.旧唐书[M].北京:中华书局,1975.
[4]欧阳修,等.新唐书[M].北京:中华书局,1975.
[5]郭英德.明清传奇史[M].北京:人民文学出版社,2012:531.
[6]白朴.唐明皇秋夜梧桐雨[M]//顾学颉.元人杂剧选.北京:人民文学出版社,2007:97.
[7]章培恒,骆玉明.中国文学史(下)[M].上海:复旦大学出版社,1996:47.
[8]洪昇.长生殿[M].徐朔方,校注.北京:人民文学出版社,1983.
(1)引自张竟光《赠洪昉思》。诗曰:“昉思新少年,笔札何纵横;染翰惊世人,卓荥凌霄汉。”
(2)康熙二十八年(1689)春,洪昇致诗时任少詹事的高士奇(《简高澹人少詹》):“簪笔朝朝侍凤楼,一时异数有谁铸。出山宰相陶弘景,经世神仙李邺侯。盛代好文贫未遇,良朋念故礼偏优。青阳白发愁无计,欲向王维定去留。”
[2]司马光.资治通鉴[M].北京:中华书局,2007
[3]刘昫,等.旧唐书[M].北京:中华书局,1975.
[4]欧阳修,等.新唐书[M].北京:中华书局,1975.
[5]郭英德.明清传奇史[M].北京:人民文学出版社,2012:531.
[6]白朴.唐明皇秋夜梧桐雨[M]//顾学颉.元人杂剧选.北京:人民文学出版社,2007:97.
[7]章培恒,骆玉明.中国文学史(下)[M].上海:复旦大学出版社,1996:47.
[8]洪昇.长生殿[M].徐朔方,校注.北京:人民文学出版社,1983.
(1)引自张竟光《赠洪昉思》。诗曰:“昉思新少年,笔札何纵横;染翰惊世人,卓荥凌霄汉。”
(2)康熙二十八年(1689)春,洪昇致诗时任少詹事的高士奇(《简高澹人少詹》):“簪笔朝朝侍凤楼,一时异数有谁铸。出山宰相陶弘景,经世神仙李邺侯。盛代好文贫未遇,良朋念故礼偏优。青阳白发愁无计,欲向王维定去留。”