摘要
王实甫的《西厢记》至今仍在艺术的长廊中熠熠生辉。诸多学者对《西厢记》的研究广泛且深入，但对其传播与接受的情况却很少涉足。所以，笔者欲从崔莺莺形象的演变中探讨《西厢记》的接受所折射出的社会文化及美学意蕴。
从《莺莺传》到《西厢记》再到《第六才子书》，其中莺莺形象在文学接受中演奏出三部曲：(一)从“尤物”、“妖孽”到令人同情的受害者；(二)从反抗的“淑女”到智勇双全的“美女”；(三)风采依旧的“双面佳人”。在这一过程中，莺莺形象发生了质的飞跃。
莺莺形象的变化反映了《西厢记》在接受过程中传达出的丰富的社会文化蕴涵：首先，它反映了科举在不同时代的地位与发展情况，如元代科举的一度中止给汉族知识分子以沉重的打击，这使许多下层文人走进勾栏投身到戏曲创作之中；其次，娱乐场所的增多使大众有更多的机会接触戏曲，这为剧作家与观众的互动提供了有利条件，有利于创作出观众喜闻乐见的艺术形象；再次，明清时期俗文学地位的上升为《西厢记》地广泛传播与接受开拓了更为广阔的空间，多样的文学传播方式使《西厢记》出现了雅致与庸俗的清晰分流；第四，还应看到，由蒙古族统治的元朝有着特异的文化情境，这种特异性对《西厢记》的产生与接受有着不可小视的影响。
一部作品之所以能够长久地为人们所接受，是因为它与人们的审美经验达到了某种程度的契合。人的审美经验既有惊人的相似性又有一定的变化性。而《西厢记》恰恰既反映了人们审美经验的一致性又反映出审美的变化性。在一致性上主要表现为：1．“意态由来画不成”的外形美。几乎没有人不喜欢美人，而莺莺恰恰有令人心动的美貌。2．欲说还休的含蓄美。中华民族是个含蓄的民族，即使是大胆地表现崔张偷情的《西厢记》也不乏含蓄之美。3．朦胧迷幻的梦境美。梦与情似乎有着不可分割的关系，梦可以使我们更好地体味人物的内心。4．味之不尽的诗情美。我国是诗的国度，而戏曲与诗词更是有着千丝万缕的联系，《西厢记》就充分地体现了诗
情之美。在变化性上表现为:1.雅与俗的变奏。从《莺莺传》到《西厢记》
再到《第六才子书》，雅与俗的变化与融合显而易见，一味的雅或俗都会给
人造成审美疲倦。只有在变化与融合中，一部作品才能更好地为人所接受。
2.从理想的“大团圆”到理智的“离别”。古代小说与戏曲的结局常常是天
随人愿，皆大欢喜。而金圣叹等人则提出《西厢记》结于价凉梦》一折更
佳，这是对人们审美惯性的挑战，也得到了后世的认可。
一直以来，《西厢记》广泛地为人所喜爱与接受，这主要是因为它向人
们讲述了一个关于真爱的故事，无论它反映出怎样的文化与美学蕴涵，都
与它本身所传达出对“至情”、“真爱”的肯定有关。
WangShifu's The Romance of Western Side has still been splendid in the artistic porch to this day. A good many scholars study it abroad and deeply, but few people set foot in its diffusion and receiving. So I want to discuss the story's connotation of social culture and esthetics from the evolvement of CuiYingying.
From Yingying Romance to The Romance of Western Side to The Sixth Bel-esprit's Book; CuiYingying performed a trilogy in the course of culture receiving : I.From a "stunner" , "evil" to a pitiful "victim". II. From a rebellious "gentlewoman" to a "both brave and resourceful beauty". III. A beautiful woman with both face had graceful bearing as of old. In this course, qualitative flight took place in CuiYingying.
The changes of Yingying reflected the abundant connotation of social culture in the course of receiving of The Romance of Western Side. Firstly, it represents the station and development of the imperial examinations, for example, the imperial examinations was paused for a time in Yuan Dynasty and this did a heavy strike to the intellect of Han nationality. The special situation made many literators in low status approach Golan and devote themselves to producing dramas. Secondly, the increase of recreation ground made the masses have more chances to touch dramas, which can not only provide advantages for dramatists and audience, but also make for producing the artic character whom the audience loved to see and hear. Thirdly, the positional ascend of common literature carved out a wider space for the diffusion and receiving of The Romance of Western Side in Ming and Qing periods. The diversiform diffusing ways made The Romance of Western Side take on elegant and vulgar looks clearly. Finally, we should also se
e that Yuan Dynasty regnant by Mongolia race had a differential culture condition and this influenced producing and receiving of The Romance of Western Side deeply.
People have received a piece of work for long because the work somehow
agrees with people's aesthetic experience that has striking comparability as well as changes. The Romance of Western Side reflects the coherence and changes of aesthetic experience. The former mainly involves four aspects. I. The figure beauty and Yingying can't be drawn. Few people don't like beauty and Yingying was a suprising beauty. II. The beauty of connotation. Chinese is a pregnant nation, even The Romance of Western Side that tells a bold love story is of connotation. III. The obscure beauty of dreamland. Dream has indiscerptible connection with love, and we can appreciate the heart of character better through dream. IV. The significant poem beauty. China is a nation of poem and drama has countless ties with poem. The drama embodies poem beauty. The later mainly involves two aspects. I. The elegant and common variation. From Yingying' s Romance to The Romance of Western Side then to The Sixth Bel-esprit's Book, we can see the elegant and common changes easily. Blind elegance or common leads to aesthe
tic tiredness. As long as changes and amalgamation rise people can receive literature well. II. From perfect "happy ending" to sane "separation". Generally, the final of ancient novel and drama meet with people's wish and everyone is happy. But JinShengtan and others put forward that The Romance of Western Side should end in "Frightened Dream", which is a challenge to aesthetic habit and is affirmed afterworld.
People widely love and receive The Romance of Western Side at all times, mainly because it tells a true love story. No matter what connotation of literature and esthetics it has, the work conveys the affirmation of "extreme passion" and "true love".
引文
1 鲁迅．中国小说史略．杭州．浙江文艺出版社，2000．59
2 霍松林．西厢汇编．济南．山东文艺出版社，1987．24～25
3 段启明．西厢论稿．成都．四川人民出版社，1982．144
4 戴不凡．论崔莺莺．上海．上海文艺出版社，1963．48
5 寒声，贺新辉，范彪．西厢记新论．北京．中国戏剧出版社，1992．16l～202
6 蒋星煜．西厢记的文献研究．上海．上海古籍出版社，1997．88
7 段启明．西厢论稿．成都．四川人民出版社，1982．144
8，9 蒋星煜．西厢记的文献研究．上海．上海古籍出版社，1997．172～173
10 戴不凡．论崔莺莺．上海．上海文艺出版社，1963．121～178
11 张国光．金圣叹批本西厢记．上海．上海古籍出版社，1986．133
12 张国光．金圣叹批本西厢记．上海．上海古籍出版社，1986．316～317
13 蒋星煜．西厢记的文献研究．上海．上海古籍出版社，1997．263
14 章培恒，骆玉明．中国文学史．上海．复旦大学出版社，1997．3～6
15 张稔穰．中国古代小说艺术教程．济南．山东教育出版社，1991．43
16 左东岭．元代文化与元代文学．郑州大学学报，哲社版，1991，1．54～60
17 马克思恩格斯选集．第四卷．北京．人民文学出版社，1972．153
18 段启明．西厢论稿．成都．四川人民出版社，1982．10
19 车文明．20世纪戏曲文物的发现与曲学研究．北京．文化艺术出版社，2001．25
20 寒声，贺新辉，范彪．西厢记新论．北京．中国戏剧出版社，1992．5
21 史卫民．元代社会生活史．北京．中国社会科学出版社，1996．375
22 郭英德．明清传奇史．南京．江苏古籍出版社，1999．251
23 郭英德．传奇戏曲的兴起与文化权力的下移．中国社会科学，1997，2：163～178
24 尚学锋．过常宝．郭英德．中国古典文学接受史．济南．山东教育出版社．2000．342
25 王利器．元明清三代戏曲小说禁毁史料．上海．上海古籍出版社，1981．12
26，27，28，29 尚学锋．过常宝．郭英德．中国古典文学接受史．济南．山东教育出版社．2000．343～347
30，31 王小舒．中国审美文化史．济南．山东画报出版社，2000．142
32 王利器．元明清三代戏曲小说禁毁史料·前言．上海．上海古籍出版社，1981．17
33，34，35 郭英德．元明清文学传播与文学接受．求是学刊，1999，2：76～82
36 王利器．元明清三代戏曲小说禁毁史料·前言．上海．上海古籍出版社，1981．29
37 说明：此表引自尚学锋等著《中国古典文学接受史》，山东教育出版社，2000年版，第366页。其中《乐府红珊》提供的是宫廷贵族、文人雅士厅堂宴会上演出的剧目；《礼节传簿》和《永团圆》提供的是乡村百姓迎神赛会时演出的剧目。
38，39 尚学锋．过常宝．郭英德．中国古典文学接受史．济南．山东教育出版社，2000．368
40，41，42 史卫民．元代社会生活史．北京．中国社会科学出版社，1996．303～305
43 徐振贵．中国古代戏剧统论．济南．山东教育出版社，1997．270
44 谭帆，陆炜．中国古典戏剧理论史．北京：中国社会科学出版社，1993．262
45 陈鼓应．庄子今注今释．北京．中华书局，1983．46
46 司空图原著．郭晋稀注释．白话二十四诗品．长沙．岳麓书社，1997．12
47 王国维．宋元戏曲史．北京．东方出版社，1996．79
48 王国维．宋元戏曲史．北京．东方出版社，1996．101
49，50 陈多．一部罕见的古典戏曲悲剧论著．曲苑·第二辑．南京．江苏古籍出版社，1986．257～267
51 张国光．金圣叹批本西厢记．上海．上海古籍出版社，1986．275
1 鲁迅．中国小说史略．杭州．浙江文艺出版社，2000
2 霍松林．西厢汇编．济南．山东文艺出版社，1987
3 段启明．西厢论稿．成都．四川人民出版社，1982
4 戴不凡．论崔莺莺．上海．上海文艺出版社，19635
5 寒声，贺新辉，范彪．西厢记新论．北京．中国戏剧出版社，1992
6 蒋星煜．西厢记的文献研究．上海．上海古籍出版社，1997
7 左东岭．元代文化与元代文学．郑州大学学报，哲社版，1991，1
8 张国光．金圣叹批本西厢记．上海．上海古籍出版社，1986
9 车文明．20世纪戏曲文物的发现与曲学研究．北京．文化艺术出版社，2001
10 史卫民．元代社会生活史．北京．中国社会科学出版社，1996
11 徐振贵．中国古代戏剧统论．济南．山东教育出版社，1997
12 谭帆，陆炜．中国古典戏剧理论史．北京：中国社会科学出版社，1993
13 郭英德明清传奇史．南京．江苏古籍出版社，1999
14 王小舒．中国审美文化史．济南．山东画报出版社，2000
15 郭英德．元明清文学传播与文学接受．求是学刊，1999，2
16 尚学锋．过常宝．郭英德．中国古典文学接受史．济南．山东教育出版社，2000
17 王利器．元明清三代戏曲小说禁毁史料．上海．上海古籍出版社，1981
18 司空图原著．郭晋稀注释．白话二十四诗品．长沙．岳麓书社，1997
19 王国维．宋元戏曲史．北京．东方出版社，1996