以劇佐史、以劇序志──清初李玉《清忠譜》公憤之寫作底蘊

“The Operas Proof the Histories and State the Ambition.‖ -Qingzhonpu, the writing based on ―public outrage‖ written by Li Yu in Early Qing

明末至清初，以閹黨魏忠賢（1568-1627）為題材之劇作蠭起，現流傳者僅少數，其中李玉（1591?-1671?）《清忠譜》撰作時間較晚，卻於近一世紀以來名列「中國十大古典悲劇」，其意義與價值，殆無疑義。此劇號「以曲為史」，或「用當世手筆，譜眼前情事」，然前朝史、眼前事，如何綰合繫聯？作者潛寄何意？為本文擬加考究者。細審入清後的李玉，對明末以來閹黨禍國持續關注與反思，刻意藉此劇佐史、序志，鋪陳亡國省思的「公憤」，在敘寫魏閹之同時，實有糾舉對比出閹黨餘孽阮大鋮（1587-1646）、溫體仁（1573-1638）危害正人、肇致覆滅的弦音，也同此揭示時人藉劇作傳達痛慨之憤，是故，《清忠譜》鋪寫的公憤，暗合前朝史、眼前事，並與佐史、序志互為表裡之衍伸，格外具有時代意義。而劇中特拈出「公憤」，也正突顯李玉作為蘇州派劇作家之首的超凡「識度」，甫此觀之，其人其劇在文學史上確有其價值與定位。

The playwright of Suzhou-school, Li Yu was famous by chuanqi in the early Qing dynasty. He had revised the poetries and had made the comments on the previous playwrights. Li Yu experienced the dynastic changes. Before the end of Ming dynasty, he devoted to imperial examination, and then focused on his writing of chuanqi. His writings were focused on the history and the currently events. The chanqi Qingzhonpu was a history of Jhou Shunxian and Yen PeiShueng who suffered the persecution under Wei Zhongxian. It implied that ''the operas proof the histories and state the ambition.'' According to the writing, it revealed that the ''public outrage'' was beneath the reality.