從森槐南、幸田露伴、笹川臨風到王國維——日本明治時期（1869-1912）的中國戲曲研究考察

From Mori Kainan, Kōda Rohan and Sasagawa Rinpū to Wang Guowei –Chinese Drama Research in Japan’s Meiji Period

日本現代學術意義上的中國戲曲研究，始於明治時期。日本學者也成為這個領域最早的耕耘者。明治維新（1868）以後，在西方的文學與思想觀念的影響下，戲曲小說作為文學的重要組成部分，受到人們關注，使得中國本土向來不登大雅之堂的戲曲，一躍成為中國文學研究的重要對象。早在明治二十年（1887）前後，漢詩人森槐南就開始研讀中國戲曲小說，是日本第一位在大學中講授中國戲曲的學者。幸田露伴的《元時代的雜劇》（1894），則是第一篇系統研究與介紹元雜劇的論文，真正意義上開日本元曲研究的先河。在明治二十年代至三十年代初，以森槐南為中心的漢學家、漢詩人，包括森鷗外、幸田露伴，構成了一個圈子，從日本近代文學創作與評論的角度，為了從中國文學中吸取營養而研討中國詩詞、小說、戲曲，從而開拓了一個新的領域。明治三十年（1897）前後，一批帝國大學畢業的「文學士」在接受西方學術思想的系統訓練之後，將其眼光投入東方，致力於中國文學史的研究與撰作。其中笹川臨風更是將熱誠投注於中國戲曲小說，成果斐然。到明治末期，狩野直喜、鹽谷溫等人以實證方式研究戲曲，與王國維的戲曲研究風雲際會，為大正及昭和前期日本之中國戲曲研究的興盛，奠定了基礎。事實上，明治時期的中國戲曲研究，已經涉及到雜劇、南戲、傳奇、劇場、舞臺、音樂等諸多方面，其研究已經具有很強的系統性。王國維關注中國戲曲史，以及他的總結性著作《宋元戲曲史》的撰作，顯然受到此前日本學者著述的影響；他的某些批評，顯然針對的是日本學者的觀點。而《宋元戲曲史》問世，又令日本學界「大受刺激」，從而促成大正及昭和初期日本元曲研究的興盛。因此，今天我們在高度評價王國維、狩野直喜、鹽谷溫等人的戲曲研究成果時，不能忘記森槐南、幸田露伴、笹川臨風等人的開創功績。

Japanese scholars—the earliest researchers of Chinese drama—began their studies in the Meiji period. After the Meiji Revolution (1868), Japan was influenced significantly by Western concepts, and in this way local culture such as drama became an important object of Chinese literature study. Mori Kainan, Kōda Rohan, and Sasagawa Rinpū were the outstanding figures among these Japanese scholars of this period. Mori Kainan began to study Chinese drama and fiction as early as around 1887. He was also the first professor who taught Chinese ci and qu in the university, and he influenced later scholars such as Kubo Tenzui and Shionoya On. In the twentieth and early thirtieth years of the Meiji Period, poets such as Mori Kainan and writers such as Mori Ōgai and Kōda Rohan formed a research circle to read and study Chinese classical poetry, drama and novels. Around 1897, a group of young “literary scholars” graduated from Tokyo Imperial University, trained in the Western educational system, and devoted to the study of the history of Chinese literature. Sasagawa Rinpū, a graduate of 1896, focused on Chinese drama, and his great achievements marked the first flourishing period of Chinese drama study. At the end of the Meiji Period, Kano Naoki and Shionoya On studied Chinese drama with meticulous textual research, which also agreed with Wang Guowei’s research methodology. They laid the foundations for the flourishing of Chinese drama study in the Taishō and early Shōwa periods. In fact, the research of Chinese drama in the Meiji Period had involved not only many types of drama, including zaju, chuanqi and nanxi, but also many key elements of drama, such as theater, stage, and music. The study of Chinese drama became very systematic and organized. Wang Guowei’s masterpiece, The History of Song and Yuan Dynasty Drama, was obviously influenced by the studies of the Japanese academy. On the other hand, his works also stimulated the Japanese academy and contributed to the richness of Yuan qu Study in the Taishō and early Shōwa periods.