【摘要】：元末明初,文人士夫何以由經(jīng)史而折入小說,始終與其游走于"臺閣"與"山林"之間的人生狀態(tài)密切相關(guān)。如果說《剪燈新話》隱約透露出元明之際士大夫彷徨于仕與隱之間的兩難困境,以及其志不伸遂不得已飄泊亂離的性命體驗(yàn);那么,《剪燈余話》卻已隆升為詞林儒臣一時(shí)幽寓遂咎己自悼,或撫掌談笑以申懷抱的載體。盡管當(dāng)時(shí)小說的創(chuàng)作與傳播遠(yuǎn)不如教坊演劇之盛,然而,小說這一臺閣化的跡象,仍然可以追溯到元末楊維楨等人假小說以為聲教的提出,并和明初官方試圖以儒學(xué)內(nèi)涵改造小說的努力聯(lián)系起來,也即與永宣間教坊演劇的繁榮有著頗為相似的歷史背景。然而,這一繁榮持續(xù)未久,正統(tǒng)七年國子監(jiān)祭酒李時(shí)勉奏禁小說,正式標(biāo)志了傳奇的衰落。
[Abstract]:In the late Yuan Dynasty and early Ming Dynasty, why did the literary personage turn into the novel from the history of the classics, which is closely related to the life state of his wandering in the "Tai Pavilion" and "Mountain Forest" from the beginning of the Yuan Dynasty to the early Ming Dynasty. If we say "lantern cutting new words", it reveals the dilemma between scholar and bureaucrat in the Yuan and Ming dynasties, and their life experience that they had to drift away from each other. However, Lin Jushen's poems have become the carrier of mourning for himself, or touching his palm and laughing in his bosom. Although the creation and dissemination of novels at that time was far less prosperous than that of Jiefang operas, however, the signs of the novel's emergence can still be traced back to Yang Weizhen and other people's false novels in the late Yuan Dynasty. It is connected with the efforts of the government in the early Ming Dynasty to transform the novel with the connotation of Confucianism, that is, it has a rather similar historical background to the prosperity of the Yongxuan Jiefang drama. However, this prosperity lasted for a long time, the orthodox seven-year emperor Li Shimian ban on the novel, officially marked the decline of legend.
【作者單位】： 華東師范大學(xué)中文系;
【分類號】：I207.41

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