析論劉清韻《小蓬萊仙館傳奇》之內容思想

A Thematic Study of Liu Qingyun’s Dramatic Works, Xiao penglai xianguan chuanqi

中國古典戲曲研究中，有關女作家作品的分析頗為罕見。筆者為彌補此一不足，乃針對晚清劉清韻十種劇作總集《小蓬萊仙館傳奇》首度進行了內容思想的仔細研討。本文包含兩大部分：第一部分討論「才子佳人戲－－折衷於傳統和現代之間的女性、愛情與婚姻」，第二部分討論「仁人志士劇－－傳統道德與現代精神之兼容並蓄」。在劉氏之才子佳人戲中富有特色的情節單元：（一）不違父命的婚姻自主，（二）一夫多妻制的困惑，以及（三）傳統性別角色、定位的背離與回歸，實以折衷委婉之方式表達出女作家之女權與兩性平等的意識。而在劉氏之仁人志士劇中重覆出現之二種母題：（一）濟世安民與適性陶情的徬徨，以及（二）等級的界限與跨越，則反映出女作家在尊崇傳統道德的同時，亦具有個性解放與階級平等的現代思想。總而言之，劉清韻在《小蓬萊仙館傳奇》裏反覆質疑中國傳統的性別與階級意識，召喚兩性與社會等級間之平等互愛。由此可見出晚清維新時期之時代精神。然或因其性別、性格、教養，及其社會邊緣的位置，劉氏在作品裏所發出的呼聲並非激烈抗爭的，而是帶有調和折衷的特性。劉清韻劇作的整體思想風貌，可說是在傳統和現代之間「荷戟獨徬徨」。

In the study of classical Chinese drama, little research has been done on women playwrights and their works. To make up for this lack, I have undertaken a first-time，close thematic study of the ten plays written by Liu Qingyun, a gentry woman of the Late Qing, My article consists of two main parts: first, on Liu's caizi-jiaren (talented scholar and beautiful maiden) drama: women, love, and marriage both traditional and modern. Second, on her renren-zhishi (humane an and high-minded hero) drama: traditional virtues and modern consciousness. Liu's caizi-jiaren plays are characterized by these motifs: (a) women's own choice of mates with fathers’ support, (b) problematic polygamy, and (c) breaking away from, before re- assuming, traditional gender roles and positions. By way of indirect suggestion, and not overt opposition, the authoress conveys her ideas of women's rights as well as the equality of the sexes. Prominent in Liu's renren-zhishi plays are two recurring motifs: (a) conflict between national service and personal enjoyment, and (b) the crossing of class boundaries. These motifs suggest that Liu, while upholding traditional virtues, holds the modern view of the liberation of the self as well as the equality among classes. In all, Liu Qingyun in her Xiao penglai xianguan chuanqi repeatedly calls into question traditional gender and class consciousness. She calls for love and equality between the sexes and among social classes. In this sense, her works reflect the spirit of her time, the Reformist era of the Late Qing. Perhaps because of her gender, character, education, family upbringing, and her marginal position in society, Liu's voice in her works is seldom intense or militant, but soft and reconciliatory. Her drama as a whole represents the authoress’ vacillation between tradition and modernity.