【作者】 彭锋；

【Author】 Peng Feng;School of Arts,PKU;the Certer of Aesthetics and Aesthetic Education at PKU;

【机构】 北京大学艺术学院； 北京大学美学与美育研究中心；

【摘要】 本文作者认为,李渔的戏剧理论既不同于儒家的激进道德论或道家的激进自律论,也不同于小说的温和自律论,而是一种温和的道德论。除了出于实际考虑,李渔的温和道德论也基于其认识到戏剧与音乐、诗歌和小说之间存在本体上的不同。李渔认为戏剧综合了音乐、诗歌与小说。如果说可以用激进的自律论来评价音乐,用激进的道德论来评价诗歌和散文,用温和的自律论来评价小说,那么温和的道德论则最适用于评价戏剧。更多还原

【Abstract】 This essay presents an interpretation of Li Yu’s theory of drama that takes it to be a moderate moralism that is different from Confucian radical moralism,Daoist radical autonomism,and the moderate autonomism of fiction.In addition to practical considerations,Li Yu’ s moderate moralism of drama is based on his awareness of the ontological difference between drama and music,poetry,and fiction.Drama was seen by Li Yu as a synthetic art that includes music,poetry,and fiction.If radical autonomism is appropriate for the evaluation of music,radical moralism for poetry and prose,and moderate autonomism for fiction,then moderate moralism would be most appropriate in the evaluation of drama.更多还原