明代戲曲本色論的轉向：以吳江派曲家沈璟、王驥德、呂天成、馮夢龍曲論為核心的討論

A Diversion of the “Ben-Se” Theory in Chinese Drama in The Ming Dynasty: Base on Shen Jing, Wang Ji-De, Liu Tian-Cheng and Feng Meng-Lung Drama Theory

「本色」論在明代文學及文學批評中是一個廣受討論的話題，此理論的實際應用係源自於嚴羽《滄浪詩話》：「惟悟乃為當行，乃為本色」，透過「悟」定位出「第一義」的詩歌，而何謂「本色」，以及「本色」的實質內容，即成為後世反覆辯證、辯論的問題。戲曲本色論的闡發始自元代關漢卿，而明代如何良俊、徐渭等重要曲家、曲論家皆有各自的理論承續，其中吳江派曲家沈璟、王驥德、呂天成、馮夢龍四者對於「本色」論的詮釋與實踐，除了反映了同一文學流派中的繼承、轉化與修正外，更從戲曲中本色語言的討論，具體呈現了由中明而晚明在戲曲創作與批評上朝向「真情」、「真性」追求的轉變。 TThe “Ben-Se” theory is a hot topic of discussion in Ming's literary and literary criticism. The application of the theory is from Yan Yu's “ Cang -lang Shi-hua”(滄浪詩話), through the meaning of “Wu”(悟) to define the poetry in “Di-yi-yi”(第一義) . Then, the meaning of “Ben-Se” and its actual content, becoming a Issue is discussed and debated in researchers. The elucidation of “Ben-Se” theory in Chinese Drama is from Guan Han-Qing in Yan dynasty. In Ming, Many drama theorists like He liang-Jun and Xu Wei continue that theory. In these theorists, the “Wu Jiang”(吳江派), especially like Shen Jing, Weng Ji-De, Liu Tian-Cheng and Feng Meng-Lung, for interpretation and practice of the “Ben-Se” Theory is typical. In addition to being in the same literary genre of the inheritance and transformation, also reflects the change and the Influence of literary trend in the Mid-Ming to Late Ming dynasty.