「以其技還奪其席」—論《桃花扇》中的「曲家」阮大鋮及其劇作

“With the Skills to Take the Seats” –A Discourse of Ruan Dacheng, the “Composer” in The Peach Blossom Fan, and the Drama

本文探討孔尚任在《桃花扇》中，如何凸顯阮大鋮曲家的身份，並通過情節設計，使《春燈謎》與《燕子箋》兩部劇作引發言外之意。阮大鋮藉由《春燈謎》申辯了自己政治處境，但孔尚任對此有後來者不同的解讀方式；而《燕子箋》是《桃花扇》中出現次數最多的劇作，《桃花扇》演出了復社文人借觀此劇並羞辱大鋮，以及弘光朝廷上演此劇的戲中戲；孔尚任透過這些情節從不同的角度敘寫了他對弘光朝君臣、李香君、復社諸子的評斷。最後分析《春燈謎》的某些編劇創意，例如：插入「閏三十六齣」與最末的〈十錯認平話〉，也影響了《桃花扇》的創作技巧，作為本文的餘論。

This study intends to discuss how Kong Shangren highlighted Ruan Dacheng as a composer in The Peach Blossom Fan and introduced the implications of Spring Lantern Riddles and Swallow’s Message through plot design. Ruan Dacheng defended the political situation through Spring Lantern Riddles, while Kong Shangren, being a successor, presented his distinct interpretation. Swallow’s Message was the drama appearing the most frequently in The Peach Blossom Fan, which performed the scene of Fushe literati humiliating Dacheng through the drama, and Hongguang court played the story within the drama. Kong Shangren, through such plots, from different aspects, narrated his inferences about the monarch and the subjects in Hongguang court, Li Xiangjun, and Fushe literati. Finally, some scenario creation of Spring Lantern Riddles, e.g. the insertion of “Leap Thirty-six Chapters” and “Ten Mistaken Comments” at the end, also influenced the creation skill of The Peach Blossom Fan. It is regarded as the concluding discourse in this study.