摘要：杜丽娘与柳梦梅死生契阔的爱情，创造出超越了死生相隔，世间拘束的境界，独创梦境交结，阴间欢媾，最终人间完婚的怪诞奇异的故事情节。这不仅是杜丽娘本身追求自由和爱情的狂欢化倾向，也体现了潜埋于官方形态下的集体狂欢意识。但是这种反抗意识和狂欢式是相对微弱的，整个作品呈现出一种幽深凄美的意境，一种带有感伤色彩的狂欢式也是极具中国古典思想的，有别于西方极致的颠覆的放浪的狂欢形态。

关键词：牡丹亭 狂欢化 感伤形式

Abstract: The love between Du Liniang and Liu Mengmei was pure, splendid but desolate. And finally it created a bizarre story which  was beyond life and death, unrestrained by secular,  magical and ultimately of which the protagonist, a man and a ghost, married in the world. Actually, the ending not only representend the crazy trend of the pursuit of the freedom and love of Du Liniang, but also reflected the crazy consciousness of public, which was buried under the official mind. But the crazy and resisting consciousness was relatively weak, so the whole artwork revealed a deep and poignat mood, a carnival which was sentimental and having the classical Chinese character, and differed from the unconventional forms of western which was extraordinary subversive and  dissipated.

Keywords:Mudan Pavilion  the trend of carnival the sharp of sentimental

《牡丹亭》在一定程度上契合了狂欢化诗学的精神特质，通篇洋溢着激情和追求自由的理想情态，但是不同于拉伯雷或者陀思妥耶夫斯基的作品，它更自然流露出含蓄蕴藉的中国式古典美的意境。

      狂欢的本质品格不是一厢情愿的异想天开, 或者是一意孤行的逃避现实, 它是人类想象力的生动展示, 这既可以是对实际世界的无可奈何的软弱逃避, 又可以是对现实生活的知难而进的顽强挑战, 而它的不同凡响之处在于, 通过想象力的空前活跃而使人类生命的自由意志得以尽情释放, 最终让生命的自由精神弹奏出最强音。汤显祖所塑造的杜丽娘是一个彻头彻尾甚至有些超常的狂欢者，也是作者内心的某种寄托。他所描绘的下层人民生动活泼地展示着趣剧和闹剧，对当时政治制度的讽刺，也不失为狂欢化的构成因素。