【作者】 王传明；

【导师】 石玲；

【作者基本信息】 山东师范大学 ， 中国古代文学， 2010， 博士

【摘要】 清代山东古典戏剧成就突出。传奇方面,为中国剧坛奉献了《桃花扇》等名作,杂剧方面,出现了在文学史上有一定影响、真实地再现文人心曲的《后四声猿》等作品。清代山东剧坛上,既有成就斐然的曲阜圣裔剧作家群体,又有个性突出的鲁中、鲁东剧作家群体。由于各种原因,部分作品的成就曾经受到埋没,比如丁耀亢的《表忠记》,虽是奉旨而作,其艺术成就毫不逊色于同一题材的《鸣凤记》,却由于触犯时忌而藏之名山,失去上演的机会。山东剧坛还有大量的剧作残缺或失传,无从了解其全貌。本文即立足清代特殊的时代背景,试图还原清代山东剧坛的文化风貌,揭示山东古典剧作的创作规律,探讨剧作家的创作共性及基于个体命运的独特个性。论文分为上编和下编两大部分。绪论分为三部分,分别论述了论文选题的缘起,对清代山东古典戏剧研究范围的界定及研究现状,以文化批评学、文献学为主的研究方法,研究意义及创新点等。上编为总论,共分为六章。第一章对清代山东古典剧作进行文献考证,并对剧作家的生平予以总结,还概述了山东古典戏剧的成就及文学史影响。第二章分析时代风云对山东古典戏剧的影响。清代特殊的政治气氛、文化政策使山东剧作家形成内敛深沉的创作风格。清代严酷的戏剧政策阻挡不住蓬勃发展的戏剧活动,山东地区的家班演出以孔府为代表,但民间演剧活动即使兴盛,也很难形成完善的市场机制,这制约了山东古典戏剧的发展,形成以案头化为主的创作倾向。清代工商经济发展很快,但仍以农耕经济为基础,所以文人农本意识强烈,山东古典剧作缺乏生动的商人形象,就体现了重农轻商的创作心态。清代浓厚的学术气氛以及山东剧作家以学者为主的身份使得剧作具备浓厚的学人化特征。第三章从地域文化的角度解读山东古典戏剧。山东剧作家的籍贯可分为鲁西南的古鲁地和山东中东部的古齐地。鲁地剧作家以圣裔剧作家为主,其基于血缘和世系关系的交往较多。齐地剧作家则基于地缘,其交游题赠较多。齐鲁文化对山东剧作家的影响体现为两个方面。首先,“齐气”和鲁文化分别影响了齐地和鲁地剧作家;其次,齐鲁文化作为一种高度融合的文化气质对山东剧作家产生综合影响,使其作品体现出儒道互补、重德尚法、积极进取的地域文化精神。第四章从题材与主题方面对清代山东古典戏剧进行分类解析。山东戏剧题材多样:文人生活剧以表达悲士不遇的传统主题为主;女性生活剧中的闺中淑女和江湖侠女都体现了男性作家的女性观;历史政治剧在表达历史风云、政治斗争时,体现了以游牧政权为背景、甚至以之为正统的全新视角;儿女风情剧中的爱情故事往往承载了时代兴亡、道德伦理、哲学人生等多重命题;伦理剧涵盖了忠孝节义等多方面内容,是中国封建社会伦理文化的全面展示;佛道剧中生动的佛道故事充分展示了中国宗教文化的风貌和特点。第五章论述清代山东古典戏剧的剧作体制。山东古典戏剧在体式方面符合全国剧坛发展的总趋势,又有独特之处。剧作家较为严格地遵循了杂剧、传奇的传统体制。下编为分论,共分为四章,对重要的山东剧作家及其作品进行评述。第六、第七章论述鲁中鲁东剧作家群。第八、第九章论述曲阜圣裔剧作家群体和鲁西南(非曲阜圣裔)剧作家群体。第六章论述蒲松龄与鲁中鲁东杂剧作家群体。蒲松龄俚曲体现了典型的家庭本位的伦理关怀;其杂剧《闱窘》描绘了诙谐的考场受难图,蕴含着自己的辛酸体会;《闹馆》体现了对礼乐文化的反讽;《钟妹庆寿》则是消闲心态下的游戏之作。赵进美的杂剧采用宗教题材,《瑶台梦》体现了缥缈一梦的人生感悟,《立地成佛》则体现了儒佛相通的生命哲学。命运多舛的宋琬将囹圄之灾寄于《祭皋陶》中。第七章论述丁耀亢等鲁中鲁东传奇作家。丁耀亢现存的四部传奇作品《化人游》、《赤松游》、《西湖扇》和《表忠记》体现了清初处于高洁遗民和变节贰臣之间的“夹心层”文人的典型心态。纪圣宣的《青衿侠》则体现了末世文人在封建伦理崩溃前夕对传统道德的眷恋与维护。第八章论述孔尚任与曲阜圣裔剧作家群。孔尚任《桃花扇》创作思想复杂,他在剧中表达了进步的忠奸观念,其若有若无的民族意识淹没在兴亡之感中。《桃花扇》在历史真实和艺术真实的结合上达到古典戏剧的顶峰,与同时代的名剧《长生殿》相比,艺术成就各具千秋。《桃花扇》体现了“为尊者讳”的春秋手法,在《骂筵》、《选优》两出中有明显的体现。杂剧《大忽雷》构成对孔尚任重名轻利的成名心态的隐喻。孔广林的杂剧和传奇创作都很有特色,具备以经治曲、南北曲兼长的特点。孔昭虔杂剧则擅长于描绘思妇怨女图。第九章论述以济宁为中心、曲阜孔姓圣裔剧作家之外的其他鲁西南剧作家,包括桂馥、许鸿磐、陆术淳、曾衍东等。桂馥的杂剧杰作《后四声猿》中的四折短剧对主人公感情的处理方式各具千秋,抒情风格上体现了对传统诗教精神的回归。许鸿磐的杂剧以历史题材为主,体现了学术风气的浓厚影响。陆术淳的传奇《玉马珮银筝记》在书生得双美的爱情迷梦中体现了“性不可情移”的正统思想。曾衍东的杂剧《小豆棚》则构筑了高洁文人的精神乐园。结语部分总结了清代山东古典戏剧的意义及影响:尽管大多数作品在文学史上没有重大影响,但反映了社会风貌及文人心态,对地方戏、民众的教化等都产生了较大影响,具备特殊的文化意义。更多还原

【Abstract】 The literators in Qing dynasty in Shandong province made biggish achievements of traditional opera inditing.In the field of Chuanqi,some famous works such as Tao Hua Shan were dedicated ,and in the domain of Zaju,there were some influential works in literature history such as Hou Si Sheng Yuan which reappeared the mentality of literators factually.In the drama world in Qing Dynasty in Shandong,there were not only a group of Qufu saint offspring dramatists who made great successes,but also a group in middle east of Shandong,whose complishment were outstanding.In despite of various reasons,the achievements of some works were neglected in a certain extent,such as Biao Zhong Ji by Ding Yaokang.Although it was written under the order of emperor, while its achievement of ideology and art was not less than Ming Feng Ji,a works in the same theme.it was suppressed because of offending the temporal taboo,therefore it lost the chance of playing.In the drama world in Shandong,there were also a great deal of works which were fragmentary or lost that we could not know their panorama.This paper bases on the special background of Qing Dynasty,by the way of cultural criticism and literatural research to try to revert the institutional perspective of the drama world in Qing Dynasty in Shandong,reveal the inditement rules of works in that time,and discuss the generality under the restrictions of the age and the region based on individual destiny of the dramatic literators in Shandong.This paper is composed by two parts.The introduction consists of three parts,separately expound the reason of this selected topic,the definition of the bound about the research of dramatic literature in Qing Dynasty in Shandong and the present conditions of this research,the introduction includes the study techniques which base on culture criticism, philology, comparison and statistics,the significance of this research ,the points of innovation and so on.The first part is pandect which includes five chapters.The first chapter summarizes the achievements of the dramatic literature in Qing Dynasty in Shandong.It summarizes the successes in Chuanqi,Zaju and Liqu composed by the literators in Shandong,sums up all their lives,and summarizes the achievements and the influence in literary history of dramatic literature in Shandong.The second chapter analyses the influence on dramatic literature in Shandong by the epoch in Qing Dynasty.The peculiar political dominion and cultural policy in Qing Dynasty compelled the authors in Shandong to form a profound and implicit styles.The industrial and commercial economy developed quickly,but the national income was still based on agricultural economy,that made the literators hold a strong georgic consciousness.The dramatic literature in Shandong embodied a psychology which attached importance to agriculture and look down on commerce.The drama authors despised the development of business,and ignored the image-building of businessmen.The dense learning ambience and the main identity of scholars made the drama in Shandong form a character deeply. The harsh drama policy could not hold up the flourishing drama activities.Shandong domestic troupe was famous for Kongfu.Although the folk performing activities were so prosperous,it could not formed perfect marketable mechanism.That situation restricted the development of dramatic literature in Shandong ,and impelled the inditement to be academic. The third chapter analyzes the dramatic literature in Shandong from the angle of regional culture.The native of Shandong drama inditers was divided into the southwest in Shandong where belonged to archaic Lu and the middle east in Shandong where belonged to archaic Qi.The main inditers of Lu were saint offspring dramatists,their most communications based on consanguinity and genealogy while the inditers of Qi based on clime.The inditers of Qi travelld and intoned together frequently.The QiLu culture influenced the Shandong drama inditers from two aspects.Firstly,the styles of Qi and Lu affected the drama inditers of the two places respectively.Secondly,as a highly merged and united temperament,the QiLu culture affected the Shandong drama inditers synthetically,and made their works show a regionally culture inspirit,such as Confucianism and Daoism complemented,regard moral and law,forwardness and so on.The fourth chapter parses the subject matter and topic matter of the dramatic literature in Shandong respectively.The subject matter of the dramatic literature in Shandong were diversiform: the drama about lifes of literators based on the principle of personages could not be used by dominator; the gentlewomen and chivalrous women in the drama about women life reflected the men-authors’ perspective on women; the drama about history and politics embodied a new angle of view about admitting the nomadic kaiserdom as lineal when represented the historical events and the political struggle; the love stories in drama about the young often held up the times rise and fall,ethic,philosophy,life and so on;the ethics drama contained plenty content of faithfulness,filial piety,braveness and righteousness, that roundly exhibitted the ethical culture of feudalistic Chinese society;the vivid stories in drama about Buddhism and Taoism unfurlled the perspective and character of Chinese religious culture.The fifth chapter discusses the system of the literators’ dramatic works in Shandong. The pattern and character of Chuanqi and Zaju in Qing Dynasty in Shandong were accorded with the total trend of the development of the countrywide drama,while they had their unique feature places.The drama authors in Shandong willingly complied the general system of Zaju and Chuanqi,and requested the rhythm and lyric strictly.The second part is divided dissertation and includes four portions.The important drama authors in Shandong are respectively discussed in term of the East Shandong and West Shandong in order to discuss the general characters individual characters of their creations. The sixth chapter discusses the Zaju authors group in middle east of Shandong deputized by Pu Songling.Pu Songling’s Zaju named Wei Jiong described a humoristic view about the examinees who were locking into examination hall,and included painful experience of the author.Naoguan contained the irony about formal culture.Zhongmei qingshou was a amused production with a easiest mood.Pu Songling’ Liqu embodied the typical ethical caring thought based on household.Zhao Jinmei’zaju adopts religion theme.A dream in fairyland refelcts his apperception that“life is but a dream”,Become a Buddha immediately refelcts his combinative life philosophy interlinked by Confucianism and Buddhism.Song Wan,who suffered many mishaps in his life finding sustenance in Jigaoyao.The seventh chapter discusses the Chuanqi authors group in middle east of Shandong deputized by Ding Yaokang.Ding Yaokang’ four Chuanqi works which exist incarnated the typical mentality of literators who lived perplexedly between the noble adherents of Ming dynasty and surrender official.Ji Shengxuan’ Chuanqi embodied the yearn and maintenance with traditional ethics morality of the literators who lived in the last time of feudal society and faced the breakdown of feudal ethics.The eighth chapter discusses the Qufu saint offspring dramatist deputized by Kong Shangren. The creative ideas of Kong Shangren’ Taohuashan were complicated.Kong expressed the idea of progress about faithfulness and turpitude,and the misty national consciousness was submerged in the emotion of rise and fall.Taohuashan achieved the zenith of classic drama on the amalgamation of historical reality and reality of art,and had its inimitable artistic peculiarity comparing with Changshengdian.Taohuashan incarnated the Chunqiu technique of "dodging for the thera",and it was reflected clearly in Mayan and Xuanyou. Zaju named Da hulei composed the metaphor about Kong Shanren’ psychology of regarding reputation and despising profit.Both Kong Guanglin’ s Zaju and Chuanqi have characteristic.His works had the peculiarity of inditing the drama as sutra and being good at both of the southern and northern drama.Kong Zhaoqian’ Zaju was good at depicting the sad women.The ninth chapter discusses the indition of the dramatists in West Shandong deputized by Gui Fu who lived around Jining and didn’t belong to the saint offspring dramatists.The group included Gui Fu,Xu Hongpan,Lu Shuchun,Zeng Yandong and so on.Gui Fu’ excellent Zaju named Hou Si Sheng Yuan which inherited the humanistic spirit of Xu Wei ’Si Sheng Yuan that was accomplished in delineating the soft sensation of literators.The four short acts apiece had its strongpoint in the manner of dealing with the protagonist’s feelings.Its deep and implicative lyric style incarnated regress to the conventional and educational consciousness.The Zaju named Six Beiqu of Liuguanlou were mainly composed by historical play which incarnated the deep influence of academic research.The Chuanqi named Yu Ma Pei Yin Zheng Ji incarnated the orthodox ideology of "ones character could not be moved by sensation" in the love dream that the young bookman conciliated two beautiful women.Zeng Yandong’ Zaju named Xiao DouPeng figured a spiritual paradise yearning by magnificent literators.The epilogue summarizes the significance and influence of the drama in Qing Dynasty in Shandong.Although most of these works did not have great influence in literary history,they reflected the literators’mentality that made geat impact to the regional drama,the mentality of demos and the education of lower people.更多还原