以劇為戈──傳奇《綠牡丹》的寫作與吳炳的改編

Using a Play as a Weapon: Conflicts Between the Fu She and Wen Ti-ren in Lü Mudan

過去對明末傳奇《綠牡丹》的作者與創作背景有不同看法，本文擬對此進行考辯。筆者依據相關史料判定《復社紀略》中記載「時相溫體仁族人編寫傳奇《綠牡丹》譏誚復社社員」一事屬實，然該本傳奇今已失佚，而流傳的粲花齋本已經吳炳 (1595-1648)改編。再據吳炳之交遊、相關文獻與劇本內文推斷，吳炳為復社洗刷「戲謗」，巧手轉換了劇中嘲諷的對象，以劇為戈，對溫氏族人進行反擊，化解復社中人的尷尬處境。整體而言，兩個《綠牡丹》本的內容存在著矛盾與相應之處，通過此一事例反映溫體仁與復社間的黨爭，以及晚明戲曲創作與演出背後的多樣社會文化意涵。

This paper discusses the writers and historical background of the legend Lü Mudan 綠牡丹. The legend was originally written by the younger brother of the Premier Wen Ti-ren 溫體仁 with the goal of ridiculing the members of the Fu She 復社 (Restoration Society). This work was later banned due to political infighting, and thus the original text of the play is no longer extant. The existing version of the play, found in the Can Hua Zhai 粲花齋, was written by Wu Bing 吳炳 only after a few years of the destruction of the original. Wu was friendly with the members of the Fu She, and he changed the core of the play, by reshaping the images of the lead roles, in order to launch a counterattack on Wen Ti-ren. The composition of the two versions reveals that the Lü Mudan was in fact used as a weapon to attack people with conflicting views. This demonstrates that the motivation for writing and performing traditional operas during the Ming Dynasty was often very complicated, and not simply aimed at providing entertainment.