论《牡丹亭》的渎神书写

On the Blasphemous Writing in The Peony Pavilion

摘要: 《牡丹亭》是明代剧作家汤显祖的经典之作，是文学史上的一座丰碑。本文聚焦《牡丹亭》中的“渎神书写”，探讨其在明代程朱理学禁锢下的思想突围。作品既借情欲自主亵渎了礼教的神圣性，又通过梅花庵观空间属性的异变与石道姑的角色反叛，消解了道教的权威性。这种书写建构起了汤显祖独特的“至情”哲学观，将个体情感确立为价值终极尺度，重构了传统价值体系。

Abstract: The Peony Pavilion, a classic work by Xianzu Tang, a playwright of the Ming Dynasty, stands as a monument in the history of literature. This paper focuses on the “blasphemous writing” in The Peony Pavilion and explores its ideological breakthrough under the constraints of Cheng-Zhu Neo-Confucianism in the Ming Dynasty. On the one hand, the work blasphemes the sanctity of feudal ethical codes by advocating the autonomy of human desire; on the other hand, it undermines the authority of Taoism through the transformation of the spatial attributes of the Plum Blossom Nunnery and the rebellious character of Nun Shi. This kind of writing constructs Xianzu Tang’s unique philosophical view of “supreme love”, establishes individual emotion as the ultimate measure of value, and reconstructs the traditional value system.