关汉卿悲、喜剧反映的社会意义及女性形象以窦.PDF

康寧學報 6 ：261 －277 （2004 ） 261 關漢卿悲、喜劇反映的社會意義及女性形象 ─ 以＜竇娥冤＞、＜救風塵＞為例 薛 惠 琪* 摘 要 關漢卿在中國文學戲劇史上的卓越貢獻，除了豐富多元的創作內容外，最 令人驚奇的是，其深入社會底層經營探索後，所標示出的動人力量和人性的光 明價值。在那樣苦悶的時代，他以「喜劇」嬉笑怒罵，諷刺強權惡勢；以「悲 劇」予苦難大眾一個莊嚴的時代面貌，尤其更為可貴的是，他前瞻而且成功的 塑造溫暖生動的女性形象。「救風塵」及「竇娥冤」即是「喜劇」與「悲劇」 的最佳代表。 本文即以關漢卿這兩本「旦本戲」為題材，從元代時代背景與女性地位談 起，進一步分析其反應的社會意義，再探討兩劇中女性形象的塑造。試圖歸納 出「悲劇」與「喜劇」的社會意義及人物塑造的差異性。 關鍵詞：關漢卿、救風塵、竇娥冤 *康寧醫護暨管理專科學校 通識教育中心講師 262 ◆康寧學報 第六期◆民國九十三年六月 The Social Meaning and the Female Image as Reflected in Guan Han Ching’s Tragedy and Comedy －Using The Injustice Done to Tou Ngo and Chiu Feng-Ch’en as Examples Huey-Chyi Shiue* Abstract Guan Han Ching’s brilliant contribution to Chinese drama not only includes the richness and dynamism in his writing, but the wonderful poignancy as the result of his attempt in exploring the very base of social structure of Yuan Dynasty. In an era marked by distress and agony, Guan cleverly adopts comedy to mock the tyranny of the privileged class; tragedy to bestow upon the suffering populace to whom solemnity so rightfully belongs. But Guan’s most amazing achievement would be his prospect in the successful creation of vivid female images that were alien to his time. Chiu Feng-Ch’en and the Injustice Done to Tou Ngo are respectively the two most representative works of comedy and tragedy by Guan. This study attempt to explore the difference in social meaning and the creation of characters between comedy and tragedy. The background and female social status during Yuan Dynasty and the underlying social meaning would be discussed based on both of Guan’s drama mentioned above. Keywords: Guan Han Ching, Chiu Feng-Ch’en, the Injustice Done