沈德符《顾曲杂言》的戏曲论——以其对杂剧、北曲、南曲之“顾”为研究重点
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摘要
沈德符的《顾曲杂言》是明代万历后期一部专论杂剧、北曲、南曲的戏曲论著,因其具有"立说颇为精准"等特点为四库馆臣所称道。该书论金、元杂剧,以推崇本色派作家作品为其审视,于明代杂剧的评价,则重在当行与本色方面。崇尚北曲中的俚俗小令,力主南曲"不入弦索",并对本朝的南曲作家作品进行了较公允之品评。《顾曲杂言》也存在不少值得注意的问题,如引书错误、结论互为抵牾等。
SHEN Defu's Gu Qu Za Yan is a drama monograph on Zaju,Northern Tunes and Southern Tunes in the late Wanli period of Ming Dynasty. The book was admired by the editors of Si Ku Quan Shu as its point was very accurate. About Zaju in Jin and Yuan dynasty,it mainly praised the important authors and their works. It was very authentic in the judgment of Zaju in Ming Dynasty. Gu Qu Za Yan held in high esteem in the vulgar short tonal tune in Northern Tunes,and mentioned that Southern Tunes didn't use music instrument. SHEN Defu's argument on the writers and their works of his own Dynasty was fair and just. Gu Qu Za Yan also had some flaws such as quotation of wrong books,contradictory conclusions and so on.
SHEN Defu's Gu Qu Za Yan is a drama monograph on Zaju,Northern Tunes and Southern Tunes in the late Wanli period of Ming Dynasty. The book was admired by the editors of Si Ku Quan Shu as its point was very accurate. About Zaju in Jin and Yuan dynasty,it mainly praised the important authors and their works. It was very authentic in the judgment of Zaju in Ming Dynasty. Gu Qu Za Yan held in high esteem in the vulgar short tonal tune in Northern Tunes,and mentioned that Southern Tunes didn't use music instrument. SHEN Defu's argument on the writers and their works of his own Dynasty was fair and just. Gu Qu Za Yan also had some flaws such as quotation of wrong books,contradictory conclusions and so on.
引文
[1]沈德符.万历野获编[M].北京:中华书局,2004.
[2]永瑢.四库全书总目(卷一九九)[M].影印本.北京:中华书局,1965.
[3]沈德符.顾曲杂言[G]∥中国古典戏曲论著集成本(第四册).北京:中国戏剧出版社,1959.
[4]凌濛初.谭曲杂札[G]∥中国古典戏曲论著集成本(第四册).北京:中国戏剧出版社,1959:253.
[5]陈师道.后山诗话[G]∥历代诗话.北京:中华书局,1981:309.
[6]田艺衡.留青日札(卷十九)[M].上海:上海古籍出版社,1992:352.
(1)杂剧之于南方戏剧圈所形成的三个发展阶段,分别为元世祖至元十三年(1276)至大德(1279-1307)、元武宗至大(1308-1311)到元文宗至顺(1331-1332)、元顺帝朝(1331-1368)到明初。具体参见高等教育出版社1999年出版的袁行霈主编《中国文学史》第324-325页。
(2)关于弦索在唐、明之际的演变情况,具体参见拙作《究心与录载北曲的佳构---论李开先<词谑>的戏曲学价值》,载《宁夏师范学院学报》2014年4期。
(3)关于[锁南枝]等为俚俗之曲者,可具体参见李开先《词谑·词套》,《中国古典戏曲论著集成》本(第三集),中国戏剧出版社1959年版,第287页。
[2]永瑢.四库全书总目(卷一九九)[M].影印本.北京:中华书局,1965.
[3]沈德符.顾曲杂言[G]∥中国古典戏曲论著集成本(第四册).北京:中国戏剧出版社,1959.
[4]凌濛初.谭曲杂札[G]∥中国古典戏曲论著集成本(第四册).北京:中国戏剧出版社,1959:253.
[5]陈师道.后山诗话[G]∥历代诗话.北京:中华书局,1981:309.
[6]田艺衡.留青日札(卷十九)[M].上海:上海古籍出版社,1992:352.
(1)杂剧之于南方戏剧圈所形成的三个发展阶段,分别为元世祖至元十三年(1276)至大德(1279-1307)、元武宗至大(1308-1311)到元文宗至顺(1331-1332)、元顺帝朝(1331-1368)到明初。具体参见高等教育出版社1999年出版的袁行霈主编《中国文学史》第324-325页。
(2)关于弦索在唐、明之际的演变情况,具体参见拙作《究心与录载北曲的佳构---论李开先<词谑>的戏曲学价值》,载《宁夏师范学院学报》2014年4期。
(3)关于[锁南枝]等为俚俗之曲者,可具体参见李开先《词谑·词套》,《中国古典戏曲论著集成》本(第三集),中国戏剧出版社1959年版,第287页。