【作者】 汪超；

【导师】 谭帆；

【作者基本信息】 华东师范大学 ， 中国各体文学理论， 2009， 博士

【副题名】关于明清文人传奇发展史中一个重要现象的考察

【摘要】 明清戏曲的文体学研究，近年来受到学界的日益关注，尤以郭英德教授《明清传奇戏曲文体研究》为代表。本文试图在文体学的关照下，通过尊体与辨体的特殊视角，来重新审视和解读明清文人传奇戏曲的演变历程。本文不仅在于展现尊体与辨体命题的主旨特征，而且更重要在于揭示二者如何影响和推动明清文人传奇戏曲的发展，即重点在于过程的阐释而不是结局的纠缠。二者作为明清文人传奇发展史的内在因子，在各自演进的同时也相互交织、相互促进，其平衡和交互与否影响明清传奇戏曲发展的轨迹，作为关键的作用力和推动力融会贯穿其间，成为明清传奇戏曲发展史中一个较为重要的现象。针对明清文人传奇戏曲的文体学研究，本文大致分为以下几章：第一章为《中国文学的尊体现象》，尊体与辨体现象普遍存在于古代文体的演变进程，如词、戏曲、小说诸文体的发展史，从某种程度而言就是一部尊体史。第二章为《元末至明中叶：文人传奇尊体的兴起》，高明《琵琶记》作为明清文人传奇之先声，是早期尊体与辨体的结晶体。《琵琶记》中推尊“不关风化体，纵好也徒然”的风教功能，得到明初统治阶级的肯定赞扬。同时在辨体方面体现出早期南戏文体意识的自觉，如在戏曲结构、宫调套数诸方面，为后世传奇作家沿袭模仿遂有“曲祖”之称，拉开明清文人传奇史的序幕。自邱濬、邵燦等以文人身份介入南戏传奇创作，便致力于提升其“下里巴人”的品位，主要在于着重强化风教功能的推尊，以及藻饰文辞以提升传奇文体的文学品位。同时，文人曲家辨体意识较为薄弱，虽有李开先、何良俊、王世贞等人的开拓和论析，但仍然居于早期文体自觉而非自律的状态，使得尊体命题的阐释显得矫枉过正，未能与辨体平衡合流，形成明前中期传奇发展的步履蹒跚。另外，徐渭、李贽等文人也纷纷提出振聋发聩的尊体主张，为戏曲文体的推尊呐喊助威。第三章为《明末清初：尊体与辨体的争胜交融》，“汤沈之争”揭开尊体与辨体命题成熟以及交互的洪流。尊体命题自此花开两瓣而各分一途：一途强调传奇有助风教的社会功能，从传奇外部因素入手来推尊地位，如沈璟、卜世臣、汪廷讷以及清初以李玉为首的苏州曲家群，都是“命意皆主风世”，肯定传奇戏曲社会意识层面的价值和地位；一途突出传奇体证文人自我的主体价值，肯定文人主体价值的同时也肯定传奇这一文体表现形式，这主要体现于三个层面：尊情颂歌、写心隐曲、评点叹赏。而以沈璟为首的晚明文人曲家，如吕天成、王骥德、李渔等又共同致力于辨体命题的展开，促成传奇戏曲文体的独立和辨析，着重于“奇”和“法”两大关键词予以进行，推动明清曲学规范的真正确立，促成传奇文体规范的成熟，成为文人传奇创作的遵体自律。与此同时，汤沈于尊体与辨体的分歧论争，也展开晚明曲家的反省思索，达成“法”与“意”的合美和两擅，实现尊体与辨体的交融，并且付诸传奇创作予以实践，如吴炳、孟称舜、阮大铖、冯梦龙、李玉、李渔等曲家，推动晚明清初文人传奇的繁荣局面，并最终形成“南洪北孔”的巅峰之作，尊体与辨体得以全面诠释和完美展现。第四章为《清中叶至晚清：文人传奇尊体的变奏》，“南洪北孔”后的清中叶曲坛，尊体与辨体再次分流错位。推尊教化的功能重新占据核心地位，并在夏纶、蒋士铨、董榕等曲家的推动下达到极致。而辨体命题或僵化成为局囿和束缚，或创作中破体现象层出，出现与史传、杂剧、八股、新乐府诸文体的交互，传奇文体自此逐渐消解没落。直至晚清时期梁启超等宣扬传奇戏曲的社会政治功能，传奇文体沦落为某种意义层面的工具载体，彻底促成尊体与辨体的全面失衡，成为明清文人传奇发展史的一抹斜阳。综观明清文人传奇戏曲发展史，尊体与辨体命题虽然形成各自的演进线路，但是二者也相互交织、相互促进，成为推动和影响文人传奇戏曲发展的重要因素，对此文体学视角的特殊关照，以期审视解读明清文人传奇戏曲发展的整体风貌。更多还原

【Abstract】 The study on drama stylistics in Ming and Qing Dynasty draws a lot of attentionof scholars.Guo Yingde’s A Study On Legendary Drama stylistics In Ming and QingDynasty is a representative one.This essay tries to research the developing history ofthe legendary drama in Ming and Qing Dynasty from the angle of Zun Style and BianStyle.This article not only shows the characteristics of Zun Style and Bian Style,butalso analyses how these two styles influenced the development of the legendarydrama in Ming and Qing dynasty.The two styles interwoven and interacted with eachother in their development and their relationship with each other also influenced thelegendary drama in Ming and Qing Dynasty becoming a vital motive force.On the study of stylistics of the legendary drama in Ming and Qing Dynasty,thisessay will be divided into four chapters:Chapter one is the Zun Style in Chinese Literature.It is very common for ZunStyle and Bian Style in the development of Chinese ancient literary styles,such as Ci,drama and novel etc.Chapter two is The Rising of Zun Style in Legend from the End of Yuan to theMiddle of Ming Dynasty.The first combination of Zun Style and Bian Style appearedin Gao Ming’s The Story of the Lute which is a frontier of the legendary drama inMing and Qing Dynasty.The Story of the Lute emphasized the function of moralteaching of drama,and was welcomed and praised by the ruling class in early MingDynasty.At the same time,the Bian Style was coming into being in the SouthernDrama,for example,the dramatic structure and tunes which were imitated by latergenerations.The moral teaching function and literary grace have been highly thoughtsince Qiu Rui and Shao Can began to write the Southem Drama.Meanwhile the BianStyle was ignored by dramatists.Although Li Kaixian,He Liangjun and WangShizhen explored and discussed Bian Style,the Bian Style was still in a state ofunconsciousness which made Zun Style be overstated and brought an obstacle to thedevelopment of it.Moreover,these famous dramatists Zhu Youdun、Xu Wei、Li Zhi allclaimed the support of Zun Style,which also promoted the status of Zun Style.Chapter three is The Interaction of Zun Style and Bian Style in the End of Mingand the Beginning of Qing.“The Dispute between Shen and Tang”opened the doorfor the interaction and maturing of Zun Style and Bian Style.The two styles thusdeveloped in its own ways separately.Some dramatists stressed the moral teaching of the legend drama from the drama’s outer factors,such as Shen Jing、Bu Shichen、Wang Tingne and the SuZhou dramatists represented by Li Yu.They all emphasized“the theme of the drama should teach the audience moral”.The others claimed the selfrepresentation of the dramatists,which embodied in three modes:feeling prioritymode,self expression mode and criticism mode.However,these dramatists such asShen Jing,Lv Tiancheng,Wang Jide and Li Yu etc.made effort on Bian Styleachieving the establishment of drama writing rules.At the same time,The disputebetween Shen and Tang also caused the reflection of the dramatists in late MingDynasty.Thus makes the interweaving of“Rule”and“Expression”,achieving theinteraction of Zun Style and Bian Style.The dramatists such as Wu Bing,MengChengShun,Ruan Dacheng,Feng Menglong,Li Yu and Li Yu etc.brought theprosperity of Legend Drama in late Ming Dynasty and early Qing Dynasty,andforming the climax of“Southern Hong and Northern Kong”.Zun Style and Bian Styleboth developed perfectly.Chapter four is The Change of Zun Style from the Middle to Late Qing Dynasty.After the“Southern Hong and Northern Kong”,the Zun Style and Bian Styledisplaced again.The emphasize of moral teaching took a dominant status again andreached a summit under the promotion of Xia Guan、Jiang Shiquan、Dong Rong.Atthe same time,Bian Style became a bind or merged into other styles,which caused theLegend declining.In the late Qing Dynasty,Liang Qichao stressed the social andpolitical function of drama which caused Legend becoming a tool of some meaning.From the above history of legend drama,although Zun Style and Bian Styledeveloped separately,their interweaving and interaction became a vital motive for thedevelopment of legend drama.The study of this stylistics would be helpful to knowthe panorama of the development of legend drama in Ming and Qing Dynasty.更多还原