关于《牡丹亭》外文翻译资料

About The Peony Pavilion

1、A Synopsis of the Peony Pavilion

The Peony Pavilion in 55 scenes, is a romantic tragicomedy which describes the love story between Du Liniang and Liu Mengmei. Although it draws its plot largely from the short story Du Liniang Revives for Love published in the Ming Dynasty, there are major alternations in its plot and narration and there is a great enhancement in its themes. In the short story, after Du Liniang has been revived, a marriage well matched in social status naturally follows. In Tang Xianzursquo;s play, the legendary story is melted into the real life of the Ming Dynasty. The story of Du Liniangs revival seems to be absurd, but in fact reflects the germs of humanism, the persistent aspiration for free love, which transcends life and death.

In the early days of the Southern Song Dynasty, the magistrate Du Bao of Nanrsquo;an has a pampered single daughter Du Liniang and employs an old pedagogue Chen Zuiliang as the tutor to teach her ancient classics. Du Liniangrsquo;s naughty maid Chunxiang makes fun with the tutor and persuades Du Liniang to have a stroll in the back garden. The stroll in the garden in the bright spring day rouses Du Liniangrsquo;s aspiration for love. She lakes a nap near the Peony Pavilion and dreams a strange dream, in which site meets her ideal lover a romantic scholar and falls in love with her. Haunted by the dream, she falls ill and draws a self-portrait in her illness as a keepsake for the scholar. In spite of the care of her mother, she dies in lovesickness.

Because of Li Quans rebellion. Du Bao is sent to station in YangZhou as the imperial envoy. After Du Baos departure. Du Liniang is buried under the plum tree in the back garden according to her last wishes. A Taoist temple is built with Sister Stone as the guardian of her coffin. Not long afterwards, the young scholar Liu Mengmei from afar comes and stops over in a room in the temple. When he strolls in the garden one day, he happens to pick up Du Iiniangrsquo;s self-portrait. He scrutinizes the portrait and falls in love with the beauty in the portrait. He dreams a dream that night, in which Du Liniang says that she can be revived. On the second day, he prays with Sister Stone, opens the grave and revives Du liniang. They are very happy but afraid that the secret will leak out. Therefore, they leave tor the capital Linan.

At that time. Du Bao has been moved to Huaian and tells his wife and Chunxiang to go to Linan. On their way to Linan, they meet with the revived Du Liniang. On hearing about the news of her father, Du liniang tells Liu Mengmei to learn more about her father when Liu Mengmei is waiting for the outcome of the imperial examination. After the enclosure has been relieved, Du Bao is about to return to Linan when he meets his son-in-law and thinks that he is a liar. Liu Mengmei is brought to Linan and is being interrogated when report comes that he has been selected as the Number-one Scholar. Du Liniang explains everything in the court and the couple is happily reunited by imperial decree.

2、 The Character Portrayals in the Peony Pavilion

With its complicated plot and magnificent structure, the Peony Pavilion in 55 scenes is particularly known for its excellent character portrayals. Among its 160 odd characters in the play, its 30 odd main characters are vividly presented, especially Du Liniang., Liu Mengmei, Du Bao, Chen Zuiliang, Chunxiang and Sister Stone. From the ministers and generals to the ruffians and whores, from the Tartar king and missionaries to the infernal judge and flower gods, all the characters who laugh, weep and sigh at the right occasion provide a panoramic picture of the social life in the Ming Dynasty.

The best-depicted character is of course Du Liniang, one of the most loving female characters in ancient Chinese drama. Besides her lingering and persistent love, a common theme in traditional Chinese drama and fiction, she is characterized by her aspiration for free individual development, which is indeed a rare case. In The Peony Pavilion, the evolvement of her personal character and her psychology is distinct and minute. The description of her mind in pace with her action is an excellent part of her character portrayal. Now lets have a taste of how the playwright uses poetic language to create the character of Du Iiniang.

In days when 'the oriole is fond to sing at such a lovely time of spring'. Du Liniang stays in her chamber, “now drawing a picture of the swing, then weaving the lovebirds on the wing' and often 'takes a nap during the day'. She feels unhappy because she has to 'act properly in front of all”, but love of beauty is her natural design.

As her parents hope that she will be learned and know the rites when some day she is married, they employs the pedagogue Chen Zuiliang as her tutor. In explaining “The Waterfowl', Chen Zuiliang distorts the poem by saying that “In a word, of the three hundred poems in The Book of Poetry the mere phrase lsquo;without evil thoughtrsquo; is of great import.' Upon reading the lines “The waterfowl would coo upon an islet in the brook. A lad would like to woo a lass with a pretty look,' Du Liniang is aware of the love theme and is stirred in her inner mind: 'Now that a caged waterfowl would like to coo upon an islet in the brook, how could a human being he less passionate!' After the lessons, “when she is awakened by the oriolesrsquo; songs and finds the springtime beauty all around, she stands in deep thought on the courtyard ground. That which scissors cannot sever, and, sorted out, is tangled again, makes me bored than ever', because 'in the courtyard drifts the willow-threads, torn by spring breeze into flimsy shreds.' It is the willow-threads that upset her — the willow-threads are nothing but the love-threads in her heart.

When her father is on an inspection to the farms, Du Liniang goes to the back garden which is bathed in springtime sunshine: 'Th

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关于《牡丹亭》

1、《牡丹亭》的剧情梗概

《牡丹亭》共55出，描写杜丽娘和柳梦梅之间的爱情故事，是充满浪漫主义色彩的悲喜剧。《牡丹亭》的不少情节取自明代话本《杜丽娘慕色还魂》，然而跟话本相比，不仅在情节和描写上做了较大改动，而且在主题思想有极大地提高。在小说中，杜丽娘还魂后，门当户对的婚姻顺利缔成；而在戏曲中，传说故事同明代社会的现实生活有机结合起来了。杜丽娘死而复生的故事看起来荒诞不经，却强烈地表达了与封建礼教对立的人文主义思想萌芽和对自由爱情的执着追求，甚至生死境界都可以超越。

南宋初，南安太守杜宝夫妇有个独生女杜丽娘，老人家十分爱惜她，聘请了一个预付的老教师陈最良来教她古代诗文。杜丽娘的侍女春香百般淘气，不但跟老先生开玩笑，而且引杜丽娘到后花园去游览。正当一个春天的困人季节，杜丽娘前去游玩花园，惹起了她的情思，在花园里牡丹亭旁小睡了一会，并且做了一个离奇的梦，梦见了她理想中的情人——一个风度翩翩的书生，两下产生了融洽的感情。杜丽娘得了这个梦以后，念念不忘梦中的情景，因而成病。病中，她自己画了一幅小像，作为对书生的留念。虽然经过她母亲的悉心照料，可她终究因相思忧郁而死。

杜宝因为李全作乱，朝廷派他做安抚使到扬州坐镇。杜宝走了以后，杜家人依据杜丽娘临死时的话，把她葬到后花园的一棵梅树底下，还造了一所梅花观，由石道姑伴守着她的灵柩。石道姑进梅花观住了没多久，来了一个游学的青年柳梦梅。他租借了梅花观的空房暂时住下。一天，他再随意游玩后花园时，碰巧拾取了杜丽娘生前画的那张画；他仔细看了一会儿，对画中的美人很觉有情，当晚也做了个梦，梦见杜丽娘告诉他可以想法使她重新活在人世。第二天，他就和石道姑设法祈祷，开了墓穴，就转了死去已久的杜丽娘，两下大喜。但是柳梦梅恐怕这件事被人发觉而声扬出去来，于是就偷偷地带着杜丽娘避到京城临安去。

那时杜宝已经移镇淮安，叫他的妻子和春香也住到临安去。杜母在路上凑巧遇见了再生的杜丽娘，惊喜之余，丽娘也知道了父亲的音讯。等待柳梦梅在京应试后，杜丽娘叫他去探问杜宝的情况。杜宝起先虽被敌人围困，但在柳梦梅去探问期间，却已解围而调升回京，碰到了来路不明的女婿，以为柳梦梅是个说谎的无赖，带回临安进行审问。这时，柳梦梅已中了状元，在金銮殿上经过杜丽娘的详尽解释，皇帝颁下旨意i，柳梦梅和杜丽娘奉旨完婚，有情人终成眷属。

2、《牡丹亭》的人物刻画

《牡丹亭》全本55出，情节恍惚迷离，结构宏大辉煌，尤以刻画人物为佳。剧中出现的各种各样的人物有160个之多，有名有姓的主要人物有30多个，尤其是杜丽娘，柳梦梅，杜宝，陈最良，春香，石道姑等人物无不栩栩如生。剧中的人物上至文武百官，下至地痞妓女，外有番王番使，更有判官花神，各色人物“笑着真笑，笑即有声；啼者真啼，啼即有泪；叹者真叹，叹即有气”，俨然是一幅活生生的明代风景全景画。

《牡丹亭》中描写的最成功的的人物当数杜丽娘，她是古典戏曲中最可爱的少女形象之一。追求爱情的缠绵而执着，是杜丽娘的一种性格特点，但杜丽娘还有她的思想特点。在《牡丹亭》以前，戏曲、小说中描写女子执着、坚定地追求爱情，不乏其例，但像杜丽娘这样表现了要求个性自由发展思想的却很罕见。《牡丹亭》写杜丽娘的性格发展和心理活动，层次鲜明，细致熨帖，而写杜丽娘的思想与行动的同步，是杜丽娘形象塑造中最有光彩之处。下面我们来看一下剧本是如何用诗化的语言来刻画杜丽娘这一形象的。

杜丽娘在“娇莺如语，眼见春如许”的大好时光，终日身居秀房，“刚打的秋千画图，闲榻着鸳鸯绣谱”，却不时“白日而眠”。内心蕴藏着隐隐的苦闷，因为“儒门旧家数”没有给 “一生儿爱好是天然”的她带来生活的情趣。

杜宝夫妇为了女儿“他日到人家，知书知礼，父母光辉”，请来腐儒陈最良坐馆教书。尽管陈最良在讲解《关雎》诗的时候，把《诗经》曲解为“《诗》三百，一言以蔽之，没多些，只lsquo;无邪rsquo;两字，付与儿家”，杜丽娘却在诵读“关关雎鸠，在河之洲。窈窕淑女，君子好逑”的时候，却意识到《关雎》的爱情主题，骚动的情欲油然而生：“lsquo;关rsquo;了的雎鸠，尚然有州渚之兴，何以人而不如鸟乎？”从此以后她在“梦回莺转，乱煞年光遍。人立小庭深院”的时候，“剪不断，理还乱，闷无端”，为的是“袅晴丝吹来闲庭院，摇漾春如线”。使她心绪不安的正是春天的柳丝——春天的“晴丝”（情丝、情思）。

杜丽娘趁父亲下乡劝农的时机，来到春光明媚的后花园。“原来姹紫嫣红开遍，似这般都付与断井残垣。良辰美景奈何天，赏心乐事谁家院？”她由春色易去联想到红颜难久，感到自己幽处深闺，未免太辜负了这大好时光：“朝飞暮卷，云霞翠轩；雨丝风片，烟波画船——锦屏人忒看的这韶光溅！”在深闺看到的柳丝（情丝）“荼蘼外烟丝醉软”，万条烟罩，加深了她的迷茫心情。她为自己还未找到如意郎君而叹息：“吾生于宦家，长在名门。年已及笄，不得早成佳配，诚为虚度青春，光阴如过隙耳。”想到这里，杜丽娘不禁潜然泪下，陷入深深的郁闷之中：“可惜妾身颜色如花，岂料命如一叶乎！”

杜丽娘在这郁闷之中，“身子困乏了，且自隐几而眠”，进入了没有任何人制约的自由自在的精神境界。她在睡梦中，隐约见到一位书生执柳枝翩翩而来。那位书生与她虽然素昧平生，却“是那处曾相见，相看俨然，早难道这好处相逢无一言”，两人在花神保护下，在“牡丹亭畔，芍药栏边，共成云雨之欢”。杜丽娘美梦醒来，发现是不可理解自己的母亲站在眼前。从此以后，那梦境一直萦绕在她的心头，“困春心游赏倦，也不索熏香绣被眠。天呵，有心情那梦还去不远”。

第二天，杜丽娘平添了新愁，“独坐思量，情殊怅怳”，更觉得“真个可怜人也”。她茶饭不思，回忆昨日的梦境：“昨日所梦，池亭俨然。只图旧梦重来，其奈新愁一段。寻思辗转，竟夜无眠。咱待乘此空间，背却春香，悄向花园寻看。”她来到后花园寻梦，景色依旧，但是“寻来寻去，都不见了。牡丹亭、芍药栏怎生这般凄凉冷落，杳无人迹？好不伤心也。”她看到一棵“梅树依依可人”，冒出“我杜丽娘若死后得葬于此，幸矣”的想法。她看到“这花花草草由人恋，生生死死愿人随，便酸酸楚楚无人怨”，立誓要“待打并香魂一片，阴雨梅天，守的个梅根相见”。

从后花园寻梦归来以后，杜丽娘整日里“泪花儿打迸着梦魂飘”，“瘦到九分久了”，心想“若不趁此时自行描画，流在人间，一旦无常，谁知西蜀杜丽娘，有如此之美貌乎”，于是自描真容，并题诗一首：“近睹分明是俨然，远观自在若飞仙。他年得傍蟾宫客不在梅边在柳边。”她不胜感慨叹道：“也有古今美女，早嫁了丈夫相爱，替他描摹画样；也有美人自家写照，寄予情人。似我杜丽娘，寄谁呵？”

杜丽娘“自春游一梦，卧病如今。不痒不疼，如痴如醉”，病情日趋严重，不时魇语“我的人那”。她“拜月堂空，行云径拥。骨冷怕成秋梦。世间何物似情浓？整一片断魂心痛”。“人去难逢，须不是神挑鬼弄。在眉峰，心坎里别是一般疼痛。”她自知不久人世，在中秋夜央母亲在死后葬在“后园梅树下”，“怕树头树底不到的五更风，和俺小坟边立断魂碑一统”。她最后的遗言是：“近了这一夜雨，怎能够月落重生灯再红！”就这样，杜丽娘在忧郁中伤春而死。

汤显祖在本剧《题词》中写道：“如丽娘者，乃可谓之有情人耳。情不知所起，一往而深，生而不可与死，死可以生。生而不可与死，死而不可复生者，皆非情之至也。”汤显祖所说的“情”，指人们的真正情感，在《牡丹亭》里表现为青年男女对自由的爱情生活的追求，跟封建道德观念中的“理”是截然相对的。这种明确的创作指导思想，与当时的进步思潮一脉相通，是《牡丹亭》比同时代的爱情剧高出一等。剧中关于杜丽娘、柳梦梅在梦中第一见面就相好幽会，杜丽娘鬼魂和情人同居，还魂后才正式“拜告天地”成婚的描写，关于杜丽娘不是死于爱情被破坏，而是由于梦中获得爱情在现实中难以寻觅，一时伤感而死，也即所谓“慕色而亡”的描写，都使它别具一格，显示了要求个性解放的思想倾向和烂漫夸张的艺术手法。

汤显祖在《牡丹亭还魂记题词》中写道：“天下女子有情，宁有如杜丽娘者乎！梦其人即病，病即弥连，至手画形容，传于世而后死。”这段话归纳了杜丽娘忧郁而死的过程——思春、探春、感春、伤春，反映了汤显祖的人文主义思想。宋明理学家强调“情”与“理”的融合，以“理”取“情”，“存天理，灭人欲”，汤显祖的“情至”观是对程朱理学的反动。杜丽娘潜意识中的情欲，在游园前体现为莫名的苦闷，在游园过程中为由袅袅“晴丝”勾起缕缕“情思”，在现实中寻梦不成，独处深闺，积郁成病个，终于忧郁而死。由此，《牡丹亭》开创了中国浪漫主义剧作的先河，奠定了汤显祖作为世界级文化巨人的基础。

3、《牡丹亭》的艺术魅力

《牡丹亭》问世后，盛行一时，是许多人为之倾倒。杜丽娘作为一个艺术形象之所以感人肺腑，重要的原因之一在于她在追求爱情时所产生的忧郁情节引起了封建时代青年女子的强烈共鸣，具有强烈的艺术感染力，她几乎成为闺阁妇女追求爱情自由的偶像。400年来，《牡丹亭》在中国的舞台上久演不衰，多少青年女子为之心灵震撼，为杜丽娘的命运洒下一掬掬同情之泪。

娄江女子俞二娘，“酷嗜《牡丹亭》传奇，蝇头细字，批注其侧，有痛于本词者，十七惋愤而死”。扬州女子金凤钿，“时《牡丹亭》书方出，因读而成癖，至于日夕把卷，吟玩不辍”。“临死，遗命于婢曰：lsquo;为我命薄，不得见一才人，虽死，目难瞑，我死。须以《牡丹亭》曲殉，无违我志也。rsquo;”广陵女子冯小青，“自幼娴习翰墨。年十六，嫁杭州冯生为妾”。在忧郁而死之际，留下绝句一首：“冷雨幽窗不可听，挑灯闲看《牡丹亭》。人间亦有痴如我，岂独伤心是小青？”

一代代演员的心血使《牡丹亭》由案头剧本转化为动人心弦的舞台演出，基友振人心魄的艺术力量。杭州女子商小玲，“以色艺称，于《还魂记》尤擅场。尝有所属意，而势不得通，遂郁郁成疾。每作杜丽娘《寻梦》、《闹殇》诸剧，真若身其事者，缠绵凄婉，泪痕盈目。一日演《寻梦》，唱至lsquo;带打并香魂一片，阴雨梅天，梅根相见rsquo;，盈盈界面，随声倚地。春香上视之，已气绝矣”。在新版昆剧《牡丹亭》中扮演柳梦梅的一位年轻演员张军同样动情说：“从小到大，不知演过多少次《游园惊梦》，《牡丹亭》的故事，犹如昆剧人的人生，为自己所爱，魂牵梦绕，从一而终。”

当代昆剧名家俞振飞的弟子岳美缇谈到她和华文漪合演的这一段戏的体会，足以反映中国艺术的文化底蕴：“昆剧的表演特色，是通过水袖、身段和脚步声发出高尚而虚幻的境界，而不是通过lsquo;脱衣解带rsquo;之类的办法，去造成一种紧迫的生活实感。”比如柳唱到lsquo;和你把领扣松rsquo;时，正好是我和华文漪转身之时，打着水袖“双翻”。这本生就是很美的舞蹈动作，笼统的看，也能表现郎才女貌气氛中的一种lsquo;自得rsquo;之感；如果进一步研究，就更能解析出其中的深意，这就是男孩子用水袖向女孩子身上lsquo;扑rsquo;，女孩子则用水袖来lsquo;推rsquo;。等唱到lsquo;袖梢儿揾着牙儿苦也rsquo;时，我们的动作没有去图解词义，甚至可以说，这词义根本无法用动作表达。女孩子用袖子挡住脸，害羞，男孩子则用手拉住女孩子的袖尖（注意，柳在全剧中从不碰杜的手），轻轻把挡住脸的手拽下来。二人像是，欲笑又不肯轻笑，脸上不笑心里却分明在笑——这是二人心中的感觉，反映到形体动作上来，就是两个人相互拽着衣袖。一顺边的晃起来又晃下去，我出右脚右手，文漪出左脚左手。我们这样晃啊晃啊，心中充满了幸福的感觉，观众想必也受到感染。”

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