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영어

Statistics suggest that the image of the monk and nun of that period demonstrates: among “The Collection of the Chü (drama)of the Yuan Dynasty”, “An additional Chü Collection (Drama) of the Yuan Dynasty”, “Drama of the Ming Dynasty” and “the Sixty Kinds of Chü (drama)”, finds 42 pieces of the monk and nun image without proper respect. They break not only the traditional Moral rules, but also denied, destroyed the Buddhist mind, character and the clean and pure ceremony. They make a mock of them, who disobeyed the Buddhist discipline, violated the Buddhist training program. In the drama appears the unmoral roles, the monk and nun in the Chinese traditional opera acts as either a painted‐ role face or a comedic clown. In the Chinese opera, they behaved themselves as a jester, and a buffooneries function as well. In an ancient Chinese ages, the communication of men and women in the sociality secretly, Buddhism temple and Taoism temple work as the occasion and broken out the traditional moral discipline and forbidden by social custom. To reduce the temple majestic and to reduce the abuse conduct, playwright plotted in that drama writings of the two roles with amusing behavior for laughing and enhancing entertainment effect. Moreover, the moral and courtesy program bandaged the human nature and humanity, so an erotic literature reaches to its summit. Actually it shows a manners of an anti –conservatism. As a researcher, I agree it completely. Many phenomena indicate its backside of multilevels. This investigation discloses some different scene of the long Chinese Buddhist History , why playwright, before Yuan and Ming Dynasty, didn’t use jester and clown to show difference. In the Chinese Drama of the above mentioned period demonstrates how the mortal people lives in the society. Therefore the declining of Buddhist discipline is truly. The drama of “A Nun Thinks of The Mortal Life”, has been played in Taiwan. I analyzed and specified that the image of the monk and nun of the Yuan and Ming Dynasty’s drama finds its satirical and ironic condition. I carefully explore the documents, has been evidenced its weakness accordingly. A drama reflects world people with their social moral and ethical program obtains the goal of this research.

중국어

本篇論文統計《元曲選》、《元曲選外編》、《全明雜劇》、《六十種曲》中，共有 四十二本劇曲的僧尼形象，不僅逾越中國傳統倫理，也否定、敗壞了佛教思想體系與清靜 律儀。劇中多半嘲諷出家人不守清規，違犯戒律，而穢行敗德腳色都是由淨丑擔綱，或以 為淨丑的功能就是戲劇甘草，主要是藉由插科打諢取悅大眾，中國古代男女社交不公開， 寺院道觀正足以成為突破傳統禁忌的場合，為了降低寺宇莊嚴不可褻瀆的氣氛，劇作家才 會以淨丑扮演僧尼，製造笑點，提高娛樂性；而且元明時期禮教嚴重桎梏人性，此時情色 文學也達到高峰，實質是有反抗道學的意義。筆者對於這些觀點皆能認同，某種現象的成 立，其背後原本就可能有多面向的因素，不過耐人尋味的是，佛教傳來中國的歷史非常久 遠，卻為何在元明以前沒有這麼多對僧尼露骨的玩笑和戲謔？尤其戲劇演出世間百態，是 整個時代的縮影，所以佛教式微自然也是不可抹煞的真實面。本文因此從〈思凡〉在台灣 的演出情形說起，再歸納分析元明劇曲嘲諷佛教的情形，最後引據文獻史料印證該時期佛 教的衰落。彰顯戲劇反映社會倫常的時代意義，即是本文寫作之目的。