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篇名
明清抒懷寫憤雜劇之藝術特質與成分
並列篇名
The Artistic Characteristics and Elements of the Ming-Ch’ing Subjective Lyrical Tsa-chu Drama
作者 王璦玲
中文摘要
明人以雜劇遣懷諷世,始於王九思(1468~1551)《曲江春》,其後徐渭 (1521~1593)的《四聲猿》,王衡(1561~1609)的《鬱輪袍》、《真傀儡》,沈自徵(1591~1641)的《漁陽三弄》等,亦皆借劇作以排遣憤世嫉俗之情。逮入清後,則又有尤侗(1618~1704)的《讀離騷》、嵇永仁(1637~1678)的《續離騷》、張韜(1678年在世)的《續四聲猿》、桂馥(1736~1805)的《後四聲猿》等。此類作品特有的劇作審美特質,《盛明雜劇》一書所附數篇序言,蓋已論及。如袁幔亭(1592~1674)云:「雜劇,詞場之短兵也。或以寄悲憤、寫跅弛,紀妖冶、書忠孝,無窮心事,無窮感觸,借四折為寓言,減之不得,增之不可,作者情之所含,辭之所畫,音之所合,即具大法程焉。」徐翽也說:「今之所謂北者(按:此所謂「北」者,指雜劇言),皆牢騷航髒,不得於時者之所為也。」「牢騷骯髒」四字不唯指作者之憤懣,亦是說此種憤懣之情積在作者胸中,必待去之而後快。總括而言,本文所謂「抒懷寫憤」雜劇,主要是就作品的創作目的與內涵取類,這其中所涵蓋的明清雜劇作家,包括:康海、王九思、瑪惟敏、徐渭、陳與郊、徐復祚、王衡、沈自徵、吳偉業、尤侗、陸世廉、鄭瑜、鄒式金、鄒兌金、王夫之、嵇永仁、廖燕、裘璉、張韜、桂馥等。在中國戲曲的發展歷程中,此一類特殊的劇作,由於受到作者「自抒胸臆」創作動機的引導,往往成為作家「自我呈現」的載體,形成了具有可稱之為「戲劇抒情化」傾向的抒情短劇。這類劇作以「發憤」為動機,在創作過程中將個人的精神鬱悶投向世情中類同的感慨之中,從而激起創作者與欣賞者所可同有的一種情感激盪,並以此種情感的激盪做為藝術表現的核心。而為了在表現中將欲表達之情集中化、深刻化,以達到特殊的審美效果,劇作家嘗試在戲劇結構的設計中,以「取境」之情感凝結與「借事」之情節壓縮手法,創造所謂「不盡」之境,充分發揮短劇「無盡而有神」、「以無結為結」的特點。此種「短而有神」的審美特質,對於劇作家以「寫心」為創作目的,所謂「稱心而出,如題而止」的表現來說,正是可以凸顯出「寫憤」雜劇深刻主觀化、 文人化的色彩。此類劇作之濃厚的「抒情化」傾向,與同時期明清傳奇之高度戲劇化發展,適成相反趨勢。寫憤雜劇作家借他人之事來洩一己之憤懣,乃是借戲劇的形式表現來呈現抒情的內涵,易言之,抒情的表現才是戲劇的焦點。所以在此層意義上,人物與情事之所謂「真」,都只在特定的內涵意義上,戲劇人物的完整性並不真正獨立於此抒情的主旨之外。這與在某些戲劇化充分展現的傳奇中,劇作家之「主體性」與劇中人物之「個體性」能予清楚隔離的狀況,截然不同。此項明清寫憤雜劇與傳奇劇類在藝術特質的表現可以有的各自的「適合」,是在許多「名作」中所以可有不同發展趨勢的根本原因,亦是寫憤雜劇之所以蔚成明清戲曲中一獨特劇類之根源所在。
英文摘要
It has been a notable trend for the Ming-Ch'ing tsa-chu writers to express their self-lament and self-assertion by playwriting since Wang Chiu-szu (1468-1551) wrote his play Ch'u-chiang-ch'un. Besides the famous Ming dramatists Hsu Wei (1521-1593), Wang Heng (1561-1609) and Shen Chih-cheng (1591-1641), Ch'ing playwrights like Yu T'ung (1618-1704), Chi Yung-jen (1637-1678), Chang T'ao (ca. 1678) and Kuei Fu (1736-1805) all conveyed their laments of frustration and laid claim on high ideals in their plays. Conducted by the authors’ motivation of selflament and self-assertion, these special plays became vehicles of selfrepresentation for the dramatists. While these plays were featured with the authors’ self-expression, they transformed the authors’ personal yearning and persistence for self-realization into an earnest wish for meaningful life which was greatly echoed by the reader or audience. In order to intensify these feelings to a sensory, effective artistic form, the dramatists employed the skills of “emotion crystallization” and “plot condensation” in their dramatic design to create a “lingering” poetic state with endless vitality. With the authors’ purpose of self-depiction, the lyrical tsa-chu drama's “shortened and animated” quality has highlighted its subjectivity with an intellectual and introspective touch. These plays’ strong self-expressive tendency was evidently opposed to the highly dramatized development of the Ming-Ch'ing ch'uan-ch'i drama. By integrating their personal awareness of self-existence into the contrived or historical stories, the tsa-chu authors thus presented subjective lyrical themes through dramatic forms. In other words, since the authors’ self-representation is the focus of the whole play, the dramatic characters are usually personification of the author's lyric-self. The Ming-Ch'ing lyrical tsa-chu plays, in this sense, are entirely different from the highly dramatized ch'uan-ch'i plays in which the authors’ subjectivity is obviously detached from the dramatic characters’ individuality. This difference of introversion and extroversion between Ming-Ch'ing tsa-chu and ch'uan-ch'i drama explains why the subjective lyrical tsa-chu drama became a special type of drama-series for self-representation.
起訖頁 37-120
關鍵詞 明清雜劇抒情寫情發憤著書自我呈現主體性藝術傳奇寫憤自傳性戲劇性Ming-Ch'ingtsa-chudramach'uan-ch'iself-representationdramaticlyricallyricismsubjectivity autobiographical
刊名 中國文哲研究集刊  
期數 199809 (13期)
出版單位 中央研究院中國文哲研究所
該期刊-上一篇 《才子牡丹亭》作者考述——兼及〈笠閣批評舊戲目〉的作者問題
該期刊-下一篇 北宋題人像畫詩析論
 

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