元明雜劇《抱粧盒》對明代新南戲《金丸記》流傳的影響

The Impacts of Bao Zhuanghe in the Yuan and Ming Drama on the Circulation of Jinwan Ji in the Ming

在過去的小說，俗文學，戲曲研究中，多將《抱粧盒》、《金丸記》作為《貍貓換太子》故事，小說戲曲的本源，相關探討已經累積許多研究成果。這些研究雖常提及明清戲曲選集中《金丸記》、《粧盒記）的單齣折子。但都只是羅列齣目名稱。不曾真正研究過這些以《粧盒記）、（金丸記》、《金彈記》為劇名的折子戲。在現有的戲曲研究文獻中，還沒有深入探討此一範疇的研究論文。本文以明代戲曲選集中，選自《金丸記）的折子戲作為探討中心，從元明雜劇《抱粧盒》與明代新南戲《金丸記》的寫作時代探，分析皇室時事與戲曲流傳間的關係解析相近時代，不同作家對同一題材轉換體製規律寫作時，增衍變易的質性；再從經時間淬鍊，成為戲曲選集散齣流傳後，各種折子戲的流傳與演變現象，探討元明雜劇《抱粧盒》對明代新南戲《金丸記》的影響，從明代戲曲選集對《粧盒記）的邏輯觀察，折子戲是雜劇與南戲經劇場抉擇精鍊後的呈現，在龐雜情節中提取精華，重整套數以折子戲為研究核心，用不同體製規律的戲曲作品進行耳體的比較分析，我們可以看到，《粧盒記》折子戲讓《金丸記》的流傳，重回《抱粧盒》雜劇的情節構思，刪落雜劇第一折敘述故事緣起的序曲性情節，以及第四折陳琳為仁宗細說身世的收合性重述回顧折目，凸顯出以陳琳為主的《盤盒）、（拷寇），才是真正受歡迎的情節關目精華。

The previous studies of Chinese novel, folk literature and drama, mostly regarded Jinwan Ji (The Golden Pellet) and Bao Zhuanghe (Carrying the Filigree Box) as the origins of the story of Limao huan Taizi (Civet cats for Prince Edward). These studies only listed the titles of the two shows from the anthologies of Ming-Qing drama without profound analyses and close reading. The current literature has not done enough research on the above zhezi xi (highlight excerpts of traditional Chinese drama). This article centers on The Golden Pellet from the anthology of Ming drama from the perspective of historical contexts when the drama was created as a type of xin nanxi (new Southern drama) and when Bao Zhuanghe was composed in the Yuan and Ming dynasties. My article analyzes the relationship between the events of the royal house and the circulation of drama, the changing qualities of writing the drama in different genres by different writers. Next, the article explores to observe the circulation and evolution of various zhezi xi over time and thus examines how Jinwan Ji in the Ming was influenced by Bao Zhuanghe in the Yuan and Ming dynasties. Based on the writing of Bao Zhuanghe in the anthology of Ming drama, zhezi xi could be understood as a presentation of highly refined zajü (variety show of traditional Chinese drama) and xin nanxi in theaters and a reorganization of taoshu (a series of titled tunes). In comparison with different genres of drama, we found that the zhezi xi of Bao Zhuanghe made the circulated edition of Jinwan Ji return the structure of Bao Zhuanghe by deleting the overture and summing up and highlighting the cream of plots by means of focusing on “Panhe” and “Kaokou” about Chen Lin.