“一本一稿”的《琵琶记》及其版本成因
|
摘要
晚明陆贻典曾指出,《琵琶记》"刻者无虑百千家",但其版本内容却"几于一本一稿"。现存刊刻于明清时期,特别是明代的各种《琵琶记》文本不仅印证了陆贻典的观点,而且还证明了这些文本的底本多为不同时地舞台演出脚本的整理稿。因为不同的出版商采用不同的舞台演出脚本为底本,这些文本自然在内容上形成了"几于一本一稿"的现象。另外,类似的现象并非《琵琶记》独有,凡是明清时期舞台上的戏曲经典,它们的现存文本也大都呈现"一本一稿"的现象。即使在现当代,同一部舞台或影视艺术作品的文本,只要出版社采用不同出品方的演出脚本为底本,各版本在内容上的"一本一稿"特征同样非常明显。
Lu Yidian, a famous bibliophile in the late Ming Dynasty once pointed out that the edition contents of Pi Pa Ji varied for its different edition and only few versions has the same content in the draft for many years. The existing editions of Pi Pa Ji published in the Ming and Qing Dynasties not only justify it, but also prove that these texts are the stage performance scripts in different time and at different places. By this token, different publishers adopt different performance scripts as the master copy, so the phenomenon of "Different versions with different editions" is naturally formed. In addition, nearly all classic works including Pi Pa Ji have the same phenomenon. Almost all the classical opera works on stage exist such a phenomenon in both Ming and Qing Dynasties. Even in contemporary, the text of artistic works for the same stage or the same movie or TV play tend to be provided with the characteristics of "Different versions with different editions" as long as the publishing house adopts the master copy from different manufacturer performance scripts.
Lu Yidian, a famous bibliophile in the late Ming Dynasty once pointed out that the edition contents of Pi Pa Ji varied for its different edition and only few versions has the same content in the draft for many years. The existing editions of Pi Pa Ji published in the Ming and Qing Dynasties not only justify it, but also prove that these texts are the stage performance scripts in different time and at different places. By this token, different publishers adopt different performance scripts as the master copy, so the phenomenon of "Different versions with different editions" is naturally formed. In addition, nearly all classic works including Pi Pa Ji have the same phenomenon. Almost all the classical opera works on stage exist such a phenomenon in both Ming and Qing Dynasties. Even in contemporary, the text of artistic works for the same stage or the same movie or TV play tend to be provided with the characteristics of "Different versions with different editions" as long as the publishing house adopts the master copy from different manufacturer performance scripts.
引文
[1]玩虎轩主人.琵琶记序[C]//吴毓华.中国古典戏曲序跋集.北京:中国戏剧出版社,1990:98.
[2]凌濛初.琵琶记凡例[C]//俞为民,孙蓉蓉.历代曲话汇编·新编中国古典戏曲论著集成:明代编,第3集.合肥:黄山书社,2009:329.
[3]俞为民.盘薖硕人增改定本《词坛清玩琵琶记》考述[J].文献,2016(2):39-49.
[4]郑振铎.中国戏曲的选本[C]//郑振铎.郑振铎文集:第7卷.北京:人民文学出版社,1988:246.
[5]朱崇志.中国古代戏曲选本研究[M].上海:上海古籍出版社,2004:7.
[6]琴隐翁.审音鉴古录·嘱别[C]//王秋桂.善本戏曲丛刊:第5辑.台北:学生书局,1987.
[7]胡适.缀白裘序[C]//钱德苍,汪协如,点校.缀白裘:第1册.北京:中华书局,2005:6.
[8]高明.元本琵琶记校注前言[M].钱南扬,注.上海:上海古籍出版社,1980:2.
[9]李渔.闲情偶寄·词曲部·词采第二·忌填塞[C]//中国戏曲研究院.中国古典戏曲论著集成:第7册.北京:中国戏剧出版社,1957:28.
(1)参见:陆贻典《新刊元本蔡伯喈琵琶记·旧题校本琵琶记》,清康熙十三年陆贻典钞本。
(1)参见:凌濛初《凌刻臞仙本琵琶记》第2折[双调引子·宝鼎现]处眉批,明末凌濛初刻朱墨套印本。
(2)参见:凌濛初《凌刻臞仙本琵琶记》第2折“叹兰玉萧条……得早遂孙枝荣秀”处眉批。
(3)参见:凌濛初《凌刻臞仙本琵琶记》第5折“你爹娘早晚,早晚里吾当陪伴”处夹批。
(4)参见:凌濛初《凌刻臞仙本琵琶记》第7折[仙吕过曲·甘州歌]“数声啼鸟不堪闻”处眉批。
(1)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(2)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(3)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(4)参见:槃薖硕人《词坛清玩琵琶记·尾批》,明刊本。
(5)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(6)参见:槃薖硕人《词坛清玩琵琶记·伯皆总题》“惨矣伯皆”处眉批。
(7)参见:槃薖硕人《词坛清玩琵琶记·高堂祝寿》“一朵桂花期茂”处眉批。
(1)参见:凌濛初《凌刻臞仙本琵琶记》第33折“[中吕过曲·缕缕金]时不利”处眉批,明末凌濛初刻朱墨套印本。
(2)参见:槃薖硕人《词坛清玩琵琶记·思亲觅寄》“小子姓馬,賤名扁人”处眉批,明刊本。
(3)参见:槃薖硕人《词坛清玩琵琶记·祝发葬亲》标目处眉批,明刊本。
[2]凌濛初.琵琶记凡例[C]//俞为民,孙蓉蓉.历代曲话汇编·新编中国古典戏曲论著集成:明代编,第3集.合肥:黄山书社,2009:329.
[3]俞为民.盘薖硕人增改定本《词坛清玩琵琶记》考述[J].文献,2016(2):39-49.
[4]郑振铎.中国戏曲的选本[C]//郑振铎.郑振铎文集:第7卷.北京:人民文学出版社,1988:246.
[5]朱崇志.中国古代戏曲选本研究[M].上海:上海古籍出版社,2004:7.
[6]琴隐翁.审音鉴古录·嘱别[C]//王秋桂.善本戏曲丛刊:第5辑.台北:学生书局,1987.
[7]胡适.缀白裘序[C]//钱德苍,汪协如,点校.缀白裘:第1册.北京:中华书局,2005:6.
[8]高明.元本琵琶记校注前言[M].钱南扬,注.上海:上海古籍出版社,1980:2.
[9]李渔.闲情偶寄·词曲部·词采第二·忌填塞[C]//中国戏曲研究院.中国古典戏曲论著集成:第7册.北京:中国戏剧出版社,1957:28.
(1)参见:陆贻典《新刊元本蔡伯喈琵琶记·旧题校本琵琶记》,清康熙十三年陆贻典钞本。
(1)参见:凌濛初《凌刻臞仙本琵琶记》第2折[双调引子·宝鼎现]处眉批,明末凌濛初刻朱墨套印本。
(2)参见:凌濛初《凌刻臞仙本琵琶记》第2折“叹兰玉萧条……得早遂孙枝荣秀”处眉批。
(3)参见:凌濛初《凌刻臞仙本琵琶记》第5折“你爹娘早晚,早晚里吾当陪伴”处夹批。
(4)参见:凌濛初《凌刻臞仙本琵琶记》第7折[仙吕过曲·甘州歌]“数声啼鸟不堪闻”处眉批。
(1)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(2)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(3)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(4)参见:槃薖硕人《词坛清玩琵琶记·尾批》,明刊本。
(5)参见:槃薖硕人《词坛清玩琵琶记·改琵琶定议》,明刊本。
(6)参见:槃薖硕人《词坛清玩琵琶记·伯皆总题》“惨矣伯皆”处眉批。
(7)参见:槃薖硕人《词坛清玩琵琶记·高堂祝寿》“一朵桂花期茂”处眉批。
(1)参见:凌濛初《凌刻臞仙本琵琶记》第33折“[中吕过曲·缕缕金]时不利”处眉批,明末凌濛初刻朱墨套印本。
(2)参见:槃薖硕人《词坛清玩琵琶记·思亲觅寄》“小子姓馬,賤名扁人”处眉批,明刊本。
(3)参见:槃薖硕人《词坛清玩琵琶记·祝发葬亲》标目处眉批,明刊本。