晚明坊刻戏曲研究

【作者】 赵林平；

【导师】 许建中；

【作者基本信息】 扬州大学 ， 中国古代文学， 2014， 博士

【摘要】 明中叶以来,随着社会经济结构的调整,资本主义萌芽的出现,城市手工业、纺织业、农副产业得到逐步发展,并且由于水陆交通路线的大力开辟,全国性的商业贸易亦渐趋兴盛,到了晚明时期,城市商业景象一片繁荣。与此同时,封建王朝的腐败与堕落日趋更甚,帝王对文化、思想领域的掌控力不断松动与削弱,加上王阳明心学的崛起与广泛传播,整个宗法礼教、道德伦理遭受极大的破坏与肢解,出现了力反道学,抨击封建礼教的叛逆精神。思想的解放和活跃带动了文学观念和文学地位的转变,使得明初以来向被压抑、钳制的戏曲、小说等通俗文学一跃而与儒家传统经典相并列,戏曲文学的创作迎来了高峰,作家、作品大量涌现,并且戏曲表演与欣赏已深入社会各阶层的日常娱乐生活中。晚明商业的繁荣、思想的解放,促成了社会民众对日用百科和精神享受的需求,戏曲文学作为反映现实和情感生活的消费品很自然地成为了出版商青睐的对象。由于稿件丰富,来源充沛,加上此时的造纸、制墨、制笔等与出版业相关行业的高度发展,一时间书坊涌现,戏曲刻印景象蔚为壮观。晚明坊刻戏曲不仅数量众多,且因年代久远,很多剧本留存罕见,堪称孤本、善本。尤其可贵的是,书坊刻印曲本本身留下了大量语言生动、内容丰富的资料,从中不仅可以得到书坊主的名号、书坊地址、书坊经营范围、销售模式、编排体例、插图版画、图书价格等诸多信息,而且也能看到晚明商业书坊从编、刻、印、售为一体的经营方式逐步转向刊印与销售分化的历史轨迹。为今人研究晚明书坊发展史、戏曲出版传播史、社会商业史、戏曲文学评点史、戏曲版画风格流变史等方面提供了大量的第一手资料,具有重要的史料价值和学术价值。本论文采用上下两编的方式,以专题研究与资料考辨相结合的方法,从出版文化的角度探讨晚明书坊在戏曲编辑、发行领域中的各种表现,并对晚明书坊在戏曲文学发展传播史上的重要意义和作用作一较为全面地揭示。上编为晚明坊刻戏曲的专题述论。第一章：晚明坊刻戏曲的编辑、销售、广告及其他。第一节、晚明坊刻戏曲的编辑与销售之渠道。书坊主或以深厚的文学修养与创作实践,或聘请仕途未达的文人编辑者来提高戏曲文本的编校质量,加速了戏曲文学的体制规范化；又以“音注释义点板”型、“释义兼题评”型、“考订兼批评”型、“纯粹批评”型等四种灵活的文本编辑方式和多元化的销售渠道,扩大了戏曲刻本的销量,提升了戏曲娱乐的社会普及化。第二节、晚明坊刻戏曲的广告类型及其功能。晚明书坊推行的戏曲广告样式繁多,主要有两种基本类型,即书名、扉页、凡例、识语、牌记、插图、附录等内在文本形态,委托友人宣扬的外部市场模式。这些广告主要具有四个方面的功能：强调精品意识、着力营造和传播娱乐文化消费的热点和风尚、引导初步规范的版权意识和拓展稿源渠道。它们生动反映了晚明书贾精明的商业意识和经营策略,也是研究晚明社会曲籍传播与通俗文化消费的重要视角。第三节、晚明坊刻戏曲的盗版与作伪。晚明书坊在戏曲刊印与发行过程中为获取优质稿源,谋求利润,不惜采用各种盗版与作伪手段。常见的盗版方式为：翻刻别家刻本,不交代版刻来源;将他人作品改换名目,冒充新作刊刻；将他人作品据为己作刊刻印行。常用的作伪手段有：购买戏曲旧版,修改版权题署,伪作新书印售;收购戏曲残版,铲改、增补旧刻,另易书名发行；伪托名家作序、评点和插画。第二章：晚明坊刻戏曲的版画创作。本文所论晚明坊刻戏曲版画,特指万历、泰昌、天启、崇祯四朝版画,因泰昌一朝存在时间仅为四个月,所梓戏曲今存为数不多,且版画的风格特征与万历朝风格一脉相承,故本章讨论晚明坊刻戏曲版画只分万历与天启、崇祯两个阶段。第一节、万历间坊刻戏曲版画的创作流变及其他——以《玉簪记》插图为例。选择以《玉簪记》为例,是因为其刻本贯穿万历前、中、后三个阶段,较能典型反映此时期的版画创作的风格流变。通过对《玉簪记》版画的考察,发现万历间坊刻戏曲版画创作风格会随时间流动,从初始阶段舞台表演的直观呈现慢慢演变为剧情人物与装饰性兼顾的发展阶段,再到山水情景的诗意表达的高级阶段的一般迹象；但也存在着同一时段内版画风格的极大差异和画师误解曲辞涵义而胡乱创稿的现象。第二节、天启、崇祯间坊刻戏曲版画创作的新趋势——以《西厢记》插图为中心。选择以《西厢记》的坊刊本为中心,是因为此时期的《西厢记》刊本数量之多远迈任何其它单一剧本,且由其所开辟的版画创作新形式间亦出现于其它各类艺术作品中,预示着新一轮版画风格的生成与发展。本节主要考察了《西厢记》插图中的框架样式从长方形式到填充图案的双线框围式、四周凹边形的转变,框架内装饰性图案从千篇一律的花纹到各色图样的填补,以及版画题材向花鸟画的进一步转变三个方面探讨了此时期戏曲版画创作的新趋向。第三章：晚明坊刻戏曲版片的转移与变更。晚明书坊除了自身刊刻曲本外,也存在利用别家书坊版片,经过不同程度的修改以重新刷印的情形。本章原本只论晚明书坊,但考虑到明清易代之初,书坊戏曲版片转移与变更的情况仍比较频繁,并且大部分清初书坊转移变更的原始戏曲版片,其发轫实在晚明,故论述过程中亦将部分清初书坊纳入作为整体考量。本章在文献解读与实际目验基础上,参考前贤时修的研究成果,梳理出明末清初书坊戏曲版片转移与变更的五种操作模式：1、同姓书坊合作,版片互用；2、购得旧版,改换版权题署；3、拼合各家旧版,冠以新书名；4、删去旧版序文、附录等,修改卷端、牌记；5、铲改原版,另易书名。第四章：晚明书坊与戏曲传播多样化之关系——以《玉簪记》传播为中心。作为戏曲生命的“表演”在晚明戏曲传播史上留下过辉煌的印迹,但其用以传播的声音却因为缺乏保存的技术手段而永远不可再现。况且以晚明戏曲文学传播的实际看,案头传播实在占据着主导地位。本章选择以《玉簪记》为中心,通过晚明时期《玉簪记》的剧本刊刻、散出戏曲选本选录、舞台表演、剧本改编及娱乐赏玩等五个方面为考察对象,论述了晚明书坊在戏曲传播多样化过程中所发挥的重要作用。下编为晚明坊刻戏曲的文献考辨,以《晚明分省书坊刊印戏曲知见录》为目。本文考察了明万历元年(1573)至崇祯十七年(1644)共72年间南京、苏州府、徽州府、杭州府、湖州府、绍兴府、宁波府、福州府、建宁府、漳州府、建昌府、抚州府等地刊印过戏曲的书坊至少有159家；刊印的戏曲数量有传奇472本、杂剧636本、曲选41本,占据已知明代戏曲刊刻总量的90%以上。知见录的内容包括坊号、坊主、坊主姓氏字号与里居、刻印的戏曲名称、卷数、刊刻年代、版式行款、序跋题署、牌记插图、部分收藏地或影印资料来源,以及对文献可征而现已罕见的坊刻曲目录疑存考,对每一条目的著录尽量做到言必有据,切实可靠。同时,对前贤时修之版刻辞典、古籍目录或戏曲论著中关于晚明坊刻曲目著录的疏漏、失误处予以深入考辨,或补充或修正,为后人研究晚明书坊或戏曲版本提供翔实的文献依据。附录两篇,其一《晚明私家刻印曲本目录初编》,分省考察了明万历元年(1573)至崇祯十七年(1644)共72年间各地私家刊印的曲本目录,以补充说明晚明戏曲刊印之盛况；其二《晚明书坊刻印曲本著录失误举隅》,从卷数误、剧名误、刊梓者误、刊梓时间误、两种误为一本、一本误作两种、后印本误作重刻本、刊梓者误为剧作者、混合误、其他疏误等十个方面检讨了目前学术界对晚明书坊刻印曲本著录时存在的失误,是对下编《晚明分省书坊刊印戏曲知见录》中相关条目的一份考辨总结。更多还原

【Abstract】 Since the mid Ming, with the social economic structure adjustment, the emergence of capitalism sprouting, city handicraft industry, textile industry and agricultural industry has gradually developed, and as a result of land and water transportation routes to development, national commercial trade also gradually increased, and city business was booming in late Ming. At the same time, the corrupt feudal grow with each passing day, the emperor on the cultural, ideological field control continued loosening and weakened, coupled with the rise of Wang Yang-ming philosophy and widely spread, the patriarchal ethics, moral damage and dismemberment greatly, the force of anti-Confucianism, criticized the feudal rebellious sprit. Emancipation and active thinking led to the idea of literature and literary status changes, making the repressed since the early Ming, clamped drama, novels and other popular literature at this time leaped into juxtaposed with traditional Confucian classics, drama literary creation ushered the peak, writers and works start popping up, drama performance and appereciation into daily entainment in all walks of life.Thanks to the commercial prosperity and ideas liberation in late Ming, contributed people to enjoy the social daily encyclopedia and spiritual needs, opera literature as a reflection of the real life and emotional life of consumer products naturally become the object of publishers’favored. Because no worries about the source, plus the paper, ink, pens and publishing industry is closely related to height of the industry development, bookshops to emerge, drama inscribing as a spectacular view.The dramas printed by bookshops in late Ming engraved not only a large number, and because of the ages, a lot of rare books, called orphan, rare books. especially valuable is, the dramas themselves left a lot of vivid language, rich content of the data, from which not only can be recognize the lord, address, business scope, bookshops’sale model, layout, illustrations and prints, the price of books and other information, but also can see the history of the late Ming from the commercial publishing house knitting, moment, printing, marketing for the integrated management mode to print and sales division To modern people study the history of the late Ming bookshops, drama publishing communication history, social business history, the history of theatrical criticism of literature, history and other rheological opera style prints provide a lot of first-hand information, has important historical and academic values.This paper uses two way to case studies and data textual combination of methods, from a cultural point of publishing explore the various manifestations of the late Ming Bookshops issue in the field of drama printed, make a full reveal on the bookshops which play a significance and role in the development of communication in the history of opera literature.The upper part is monographic study of the dramas printed by bookshops in late Ming. The first chapter: the editorial, sales, advertising and others about the dramas printed by bookshops in late Ming. Section one is the edit and sale’s channel injury of drams printed by bookshop in late Ming, Bookshop owners are deeply in literature or writing practice, or hire layer writers whose officials did not prosper to improve the editing quality dramas’text, accelerate the system specification of drama literature, and use "sound annotation justice point board" type,"the interpretation and assessment questions "type, and" textual criticism" type,"pure criticism" type, such as four flexible and diversified sales channels, expanded edition of the opera sales, enhance the popularity of opera entertainment socialization. Section two, advertising type and function of the late Ming opera engraved Square. The bookshops in late Ming carrying out advertising style is various, mainly have two basic types, title, cover page, general language, remember, cards, illustrations, appendix such as inner text form, the owner entrust friends promotion of external market mode. These advertisements has four main functions:pass the functions include:emphasize on quality awareness, strive to build and spread the entertainment culture consumption hot spot and fashion, guide the preliminary specification of the copyright consciousness, expand channels for contributions. They vividly reflects the commercial awareness and business strategy of the late Ming bookshop owners, is an important perspective of the late Ming dramas spread and popular culture consumption. Section three, analysis of piracy and fake in dramas printed by bookshops in late Ming. The bookshops in operas print and issue process, to obtain manuscript sources, seek profits, using a variety of pirated and fake measures. Common way of piracy:carve another edition, not replacement illustrious tag source; the works of others changed names, posing as a new publication; the works of others to himself for publication. Common fake measure: buy the old operas version, modify the copyright agency, pretend to be new book; acquisition of operas residual version, shovel, supplement old moment, change another title to issue; forge famous preface, commentary and pictures.The second chapter. The creation of the pictures in dramas printed by bookshops in late Ming. The late Ming herein, especially WanLi(万历), TaiChang(泰昌), TianQi(天启), ChongZhen(崇祯) four dynasties, because there is only four months of TaiChang, and dramas of this dynasty existed very few, the style characteristics like WanLi i(万历) style prints. This chapter discusses on WanLi i(万历), TianQi(天启) and ChongZhen(崇祯). The first section:The creation rheological and other of drama illustration printed by bookshops of WanLi(万历) period-in "Jade Hairpin". Select the "Jade Hairpin" for example, because its versions throughout WanLi(万历)’s before, during and after three stages, can better reflect the style of the typical rheological printmaking this period. Through the "Jade Hairpin" prints investigation found that the drama art style will flow over time, from the initial stages of visual presentation stage performances gradually evolved into the development stage of the story characters and decorative balance, to the landscape scene general signs of poetic expression advanced stage; but there is also the same period of great style differences and painters misunderstandings poems meaning and make a casually create artwork phenomenon. The second section:A new trend among TianQi(天启) and ChongZhen(崇祯) drama printmaking-take "The West Chamber" illustration centered. Choose to "The West Chamber" as the center, because the versions of "The West Chamber" are much more than any other single script of this period, and the creation of new forms of printmaking by the Inter-opened it also occurred in other types of works of arts, heralding a new generation of a print style and development. This section examines the "framework for the design change,""The West Chamber" illustration,"decorative pattern fill" and "further change the theme of" the three aspects discussed new trends in this period drama printmaking.The third chapter: The shift and change of drama woodblocks of bookshops in late Ming. Bookshops besides self manufacture the woodblocks, they also use other bookshops’woodblocks to print again, after different degrees of modification This chapter had only bookshops in late Ming, but considering the beginning of Qing, the shift and change of drama woodblocks of bookshops is still more frequently, and most of the original woodblocks were manufactured in late Ming, so while the discussion, the beginning of Qing will be included as an integral. This chapter on the basis of the literature reading and the actual project experience, reference of the predecessors and existing results, tease out five operating modes of the drama woodblocks’shift and change of Ming and the beginning of Qing’s bookshops:1, surname bookshops co-edition woodblocks interoperability;2, bought previous woodblocks, change copyright colophon;3, split each previous woodblocks, dubbed the new title;4deleting legacy preface, appendices, modify the volume side, note cards;5, change the original shovel, rename the title.The fourth chapter:Bookshops of late Ming and dissemination of diversified relationship drama-centered on the "Jade Hairpin" dissemination are discussed. As the drama of life "performance" in the late Ming drama history left a glorious mark, but because of the lack of preserving technical equipment, it can never be reappear. Moreover, the desk spread was dominated in spread of drama literature in late Ming actually. Select chapter to "Jade Hairpin" as the center, tries to five aspects of "Jade Hairpin" script publication, from opera anthologies, stage performance, adaptation and amuse as object of study, from the textual transmission and stage performance, discusses the bookshops of late Ming plays important role in the process of drama spreading diversification.The next part is focus on the drama literature textual research, with "directory of provincial drams printed by bookshops in late Ming". This paper investigates the bookshops from WanLi(万历) first year (1573) to ChongZhen(崇祯)seventeen years(1644) of72years, Nanjing(南京), Suzhou(苏州), Huizhou(徽州), Hangzhou(杭州), Huzhou(湖州), Shaoxing(绍兴), Ningbo(宁波), Fuzhou(福州), Jianning(建宁), Zhangzhou(漳州), Jianchang(建昌), Fuzhou(抚州) and other places has published dramas at least159, printed ChuanQi(传奇)472, ZaJu(杂剧)636, QuXuan(曲选)41, occupy90%of the known total numbers of Ming. The directory include the bookshop, owners’name, the main surname and born address, marking the drama name, volume number, inscribed era layout line models, prefaces and postscripts colophon, licensing remember illustrations, collections or copying data sources, as well as cataloging the drama that documents may levy and now disappear, each word must as far as possible evidence, practical and reliable. Meanwhile, supplement or amendment the mistakes of the engraving dictionary, ancient catalog or opera treatise written by scholars which focus on the dramas printed by bookshops in late Ming, provides detailed literature basis for future generations to research bookshops or dramas versions of Ming.Appendix two articles, one is the catalogue of dramas printed by private in late Ming, which examines the different provinces from WanLi(万历) first year (1573) to ChongZhen(崇祯) seventeen years(1644) of72years, with added drama provided the pomp of the late Ming; the other is the examples of erros in description of dramas printed by bookshops in late Ming, from the error of volume, title, printer, print time, the two kinds of false for a book, a book false for two kinds, latter copy false for photocopy, priner mistakes for writer, mixed by mistake, and the mistakes of other aspects, review of the current academia errors in description of dramas printed in late Ming. it is a text research and summary of related items with "directory of provincial drams printed by bookshops in late Ming".更多还原