越中派初探

【作者】 王燕飞；

【导师】 许金榜；

【作者基本信息】 山东师范大学 ， 中国古典文学， 2002， 硕士

【摘要】 越中派是明代一个重要的戏曲流派。他们的戏曲理论代表了明代戏曲理论的最高成就，反映了明代戏曲理论的发展轨迹；越中派的戏曲创作在思想和艺术上都取得了不少新的成就。对越中派的研究，有利于进一步梳理澄清明代戏曲理论史和戏曲文学史发展的脉络和轮廓，并促进人们对该派的了解和发现。但是，到目前为止，还无人对越中派进行过系统认真的研究和具体阐述。因此，本文对越中派的研究具有开拓意义。本文采用宏观视角和和微观视角相结合的方法，对越中派做如下研究： 一．越中派的组成 这一部分，首先阐述越中派特有的地域色彩，对其作为一个文学流派存在的因素进行证明。其次对其成员进行界定，并对其成员之间的关系即交往和影响予以阐述。这是前人较少注意的。 二．越中派的戏曲理论 这一部分概括和阐述了越中派戏曲理论的主要观点，并从发展和联系的角度考察了越中派戏曲理论的发展轨迹及其与明代戏曲理论界的论争、社会思潮、戏曲创作的关系。文中对越中派戏曲理论观点主要概括为三部分：本色论、当行论和戏曲史论。 关于本色论，从古至今，人们对“本色”的含义众说纷纭。本文把“本色”当作一个发展的动态的概念，论述了越中派对“本色论”的发展及其内涵。文中联系明代戏曲理论界何、王与沈、汤之间的两次论争，当时的社会思潮和戏曲创作，论述了其对“本色”外在表现形式和内在涵义实质的要求由“宜俗”、“宜真”到“雅俗之间”和“风神论”的发展，语言方面以雅来点拨俗，内涵方面以风教调和真情，从而为戏曲创作提出了比较合理的标准和较为理想的努力方向。 关于当行论，文中对于越中派的结构论、音律论、情节论、人物形象塑造论等问题，都予以涉及和探讨，突破了仅仅侧重从曲体文学来欣赏评论戏曲的片面性。其中结构论尤其体现了越中派对于戏曲当行特性的实质性的把握，“谨严”、“一人一事”、“贵剪裁”等说都对时人及后人的戏曲创作和理论不无启迪，王骥德对结构的重视及提出的“定规式”说并直接启发了后来李渔的“结构第一”说。在对于戏曲音律的“定体”与“大体”、情节的“虚”与“实”问题的探讨上，越中派也都有较为折中的见解和看法。此外，越中派还注意到了戏曲作为叙事文学和舞台文学所必须具备的对人物形象塑造的问题，从语言、行动、心理刻划诸方面加以分析，提出了有价值的见解， 给予了足够的重视。 关于戏曲史论，文中阐述了越中派摒弃文人士大夫的偏见，对南戏的起源及发展 阶段进行了探索，叙述了南戏四大声腔流行和分布区域，提出了存在于明代的南戏流 派，并记载了比较翔实的南戏剧目，保存了大量南戏史料。同时越中派也没有忽略对叱 北曲杂剧起源与发展的探讨，王骇德在《曲律》中分别从“乐”的角度和“徘优戏” 的角度对此进行了双重阐述，初步涉及到戏曲搬演的本质特性。 三．越中派的戏曲创作 对越中派的戏曲创作，前人没有进行过总体研究。本文运用比较的方法，探讨了 越中派戏曲创作的新成就。 在思想内容方面，对“真”的追求，是“越中派”一贯的宗旨。首先，他们对社 会的黑暗面如贤才遭厄、佛道虚伪、法律虚设等问题进行了真实而大胆地揭露和抨击。 其次，对女性的品德和才能进行了真实地肯定和高度地赞美。另外，与当时的浪漫主 义思潮同步，越中派的作品对男女真情进行了歌颂，并体现出一些新的特点，他们注 重从人性角度这样一个新的视角来看待“真倩”在赞美真情的同时，与风教适当结合； 还提出了“同心子”的新的爱情观念。 在艺术形式方面，也体现了越中派中和的特点。首先从语言上来说，和他们戏曲 理论主张相一致，从越中派首领到越中派后辈，剧作语言由俗趋向雅化，最终向雅与 俗的统一、舞台性与文学性的结合靠拢。其次，对戏曲情节，一方面注意避兔蹈袭雷 同，求奇出新，同时又防止流于荒诞离奇，注意不脱离生活真实。对结构的安排，也 是既求简明，又求曲折，不过分繁琐，也不沦入平淡。越中派对于中国古代戏曲史上 悲剧及喜剧的创作还作出了一定的贡献。徐渭所做的《歌代啸》是中国古代戏曲文学 史上的优秀讽刺喜剧，从情节创作到人物刻划所采用的手法均较独特。而盂称舜的《娇 红记》则是爱情和悲剧的结合，从而成为古代戏曲史上第一部纯正的爱倩悲剧。此外， 越中派首领徐渭对于旧有的杂剧体制有所突破和创新，视剧情内容需要来诀定剧本长 短，而且在剧中吸收和采用南曲，南北曲相间，别有风味。此外，合四剧为一剧的形 式也颇有独创性，受到时人及后人的效仿。更多还原

【Abstract】 Yuezhong school is an important drama school in Ming Dynasty. Their drama theories represented the highest achievements of the dynasty and reflected the developing process of Ming drama theory. The drama writing of the school had made a lot of new achievements in thoughts and art. The research into this school can further crystallize the history of drama theory history of both Qing and Ming Dynasty and promote people’s understanding and discovery of this school. However, none systemetic and serious research and specific demonstration has ever been done in this field. Therefore, this dissertation intends to dwells into this non-cultivated field. The following are the three sections of this dissertation.First section is about the components of this school. In this part, the author demonstrates the local color special of the school and produces the evidence to prove its existence as a literature school. Besides, this part defines the membership of the school and dwells on the relation between school numbers and their influence on each other, which was hardly paid any attention to before.The second section is about drama theory of Yuezhong school. The section summarizes and demonstrates the major points of the drama theory of Yuezhong school from the angle of development and association and researches into the relationship between the dispute in the drama theory circle of Ming Dynasty, the social thinking trends and drama writing.The major points of drama theory can be summarized as the theory of prototype, the theory of trait of work and the theory of drama history. By associating the two disputes between Mr. He and Mr. Wang, and Mr. Shen and Mr. Tang respectively, with the social thinking trends and drama writing of that time, the author of this dissertation discusses that the form and inward connotation requires its development be from "properly popular" "properly real" to "both refined and popular" and "discussion of fengshen". In terms of languages, this discussion employs refinery to touch popularity. In the aspect of connotation, the feudal tradition mediates true love. All this provides the drama writing with a reasonable standard and an ideal goal.As to the theory of trait of work, the discussion involves the research into such matters as the school’s structure theory, the temperament theory, the plot theory, the character modeling and so on, thus this discussion has gone beyond the previous partial emphasis on appreciating drama only from theangle of the literature genre "songs". Of the three majors, the structure theory in particular embodies how Yuezhong school handled the trait of work theory in essence, and have enlightened the drama’s structure theory in particular embodies how Yuezhong school handles. The emphasis of stucture of Wangjide have enlightened "structure first " theory of Liyu. About drama songs and plot, Yuezhong school held the middle ground. Besides, Yuezhong school paid attention to the character modeling necessary for drama as a form of narrative literature and stage literature. It analyzed the language, the behavior of the characters, the psychology of the characters in the drama and advanced their valuable views and also showed sufficient emphasis on these respects.In terms of theory of drama history, the Yuezhong school showed prejudice against many people of letters and officials and carried out the research into the originality area of four South drama songs and worked out all the South songs school existing in Ming Dynasty. By keeping a precise record of the titles of South drama, the school helped to reserve a great deal of history materials of South drama. Meanwhile, Yuezhong school never ignored the discussion of the originality and development of North drama. Wang jide discussed this aspect in his "temperament of songs" from the angle of "music" and drama respectively, and thus conducted the early research of the nature of drama staging.The third section is about the drama writing of the Yuezhong school .No overall research has been done on the drama wri更多还原