“临川四梦”译介的跨文化传播探究——以《牡丹亭》为例
A Study of Cross-Cultural Communication in the Translation of “Linchuan Four Dreams” —A Case Study of the Peony Pavilion

“临川四梦”又名“玉茗堂四梦”，指明代剧作家汤显祖所著的《紫钗记》《牡丹亭》《邯郸记》《南柯记》。作为汤显祖的四部传奇作品，“临川四梦”代表了汤显祖在戏剧方面的艺术成就，也反映出了汤显祖对人世现实不同角度的思考，是中国戏曲史以及戏曲研究史上一颗璀璨的明珠，在文学翻译及舞台表演方面都具有十分重要的研究价值。而在这四部作品中，戏曲《牡丹亭》又是最具有代表性的。该剧以杜丽娘和柳梦梅的爱情故事为主线，歌颂了纯洁美好的爱情，并表达了对封建主义社会中“阶级”、“门第”观念的鞭挞，表达了对自由的向往和对个人幸福的追求。著名文学家白先勇曾说：“《牡丹亭》上承《西厢记》下启《红楼梦》，是浪漫主义文学的高峰。”因此，研究“临川四梦”(尤其是《牡丹亭》)的跨文化传播，不仅能够丰富相关译介的理论研究，更能够促进中华文化更好地走出去。
“Four Dreams of Linchuan”, also known as “Four Dreams of Jade Mingtang”, refers to the Purple Hairpin, the Peony Pavilion, the Handan Record, and the South Ke Record written by Tang Xianzu. As one of Tang Xianzu’s four legendary works, “Four Dreams of Linchuan” represents Tang Xianzu’s artistic achievements in drama, and also reflects Tang Xianzu’s thinking on the reality of the world from different angles. It is a bright pearl in the history of Chinese opera and the history of opera research, and has very important research value in literary translation and stage performance. Among these four works, the opera “Peony Pavilion” is the most representative. With the love story of Du Liniang and Liu Mengmei as the main line, the play praises the pure and beautiful love, and expresses the criticism of the concept of “class” and “family” in the feudal society, and expresses the yearning for freedom and the pursuit of personal happiness. Bai Xianyong, a famous writer, once said: “The Peony Pavilion follows the Story of the West Chamber and the Dream of Red Mansions, which is the peak of romantic literature.” Therefore, studying the cross-cultural communication of “Four Dreams of Linchuan” (especially “Peony Pavilion”) can not only enrich the theoretical research of relevant translation, but also promote Chinese culture to go global.