本文由具體而可視見的空間、情境與事件切入，觀察明清之際形上抽象的「情 ／理」膠葛於小說、戲曲的顯明刻痕；藉助教育學觀點及傅柯「規訓」 （Discipline） 理論，得知不論無疼痛感之「閨訓」（女性閨閣訓戒）或是帶有痛感的「體罰」， 實為正統理學力量變形之後的滲融身心，均隱含禮教之士對「情」採取的拘禁、 抑制態度與恐慌反應。 兩部作品高度讚揚「情」的自然、本真，同時批判「理」對一任自由的生命 本性不當的壓迫和扭曲，卻也點示，一旦家長短暫退位形成監護功能的停擺，將 導致難以預期、挽回的情色危機與綱紀廢馳。在主情的脈絡下補襯著反向之義， 即：違反禮教、發展私情之後，對生命將帶來嶄新而具啟示性的醒悟，但也可能 對生命造成毀滅性的結果。

This paper investigates the tension between the abstract notions of affection and reason that were portrayed in the fiction and drama of the Ming and Qing dynasties by examining the use of tangible elements, such as space, circumstances, and events. From the modern perspectives of education, and the discipline theory of Michel Foucault, the training and punishment of women during the period can be seen as the result of a distorted understanding of Neo-Confucianism, resulting in a fear of affection and the attempt to suppress it with reason. Both The Peony Pavilion and The Dream of the Red Chamber glorify affection as natural and genuine, while disdaining reason as an oppressive and constraining force which distorts one’s true nature. They also show that any lapse in parental supervision opens the door to amorous interests and the unforeseen consequences which lie therein. Thus, the plots develop around the themes of forbidden love and transgression of the established social order, as well as the resulting apocalyptic insights and personal tragedies.