想像的歸隱——從隱逸散曲傳統論明末士人張炳璿的套曲

Imaginary Withdrawal: On the Taoqu of Zhang Bingxuan, a Scholar of the Late Ming Dynasty, from the Tradition of Hermitage Sanqu

張炳璿（1587—1661），字儀眧，號郄庵，陝西涇陽人。他的父親是張鑑，為關中理學名儒，明末著名的天主教徒王徵是他的表哥。史稱張炳璿「尤工樂府」，目前現存他兩套套曲：〈和王良甫山居詠〉與〈村居即事〉，皆與王徵購地隱居「簡而文」有關。兩套曲皆是唱和明中期散曲大家王九思的〈歸興〉與〈春遊〉，其主題皆是「隱逸」，描寫鄉居的閒適生活，曲中充滿著仕與隱的對照。張炳璿以「和韻」中詩藝最高的「次韻」來唱和，除了表達對王九思的尊崇外，也抒寫了個人的遭遇與情志。他透過唱和，模仿、學習王九思曲作來製作套曲，與王徵兩人互相切磋，也增進彼此的情誼。創作的目的除了自娛外，也想達到「臥遊」的目的。他創作時年已四十九，仍在為科考努力，曲中表達了「詩書債苦」，試圖掙脫名利的束縛，並以村居生活來排遣長期舉業不第的失落。他亦步亦趨王九思的作品，曲作風格平淡自然，在人物意象與情感思想的描寫上遵循隱逸散曲的傳統，充分展現隱逸散曲的風致，雖然繼承有餘而創新不足，但在衰微的晚明散曲史上，尤其是關中散曲史，仍有其意義與價值。

It was said in history that Zhang Bingxuan(1587-1661) was good at creating ''Yuefu'', and two of his taoqu were still in existence: ''He Wang Liangfu shan ju yong'' and ''Cun ju ji shi''. It was all related to Wang Zheng's purchase of land to live in seclusion. The two sets of toqu were both responsed to Wang Jiusi's ''Guixing'' and ''Chunyou'', a master of sanqu in the middle Ming Dynasty. The theme of the pieces was ''hermitage'', describing the leisurely life in the countryside, and were full of contrasts between the official and the hermit. In addition to self-entertainment, the purpose of creation is also to achieve ''spiritual travel''. He was forty-nine years old at the time of his creation and was still working hard for the imperial examinations. The toqu expressed the suffering of poetry and book debts, trying to break free from the shackles of fame and fortune, and using village life to relieve the loss of long-term examination failures. He followed closely the works of Wang Jiusi. The style of the toqu was plain and natural, and in the description of character images and emotional thoughts, it followed the tradition of hermit Sanqu, and fully demonstrated the style of hermit Sanqu. Although there was more inheritance than innovation, it also had meaning and value in the declining history of Sanqu in the late Ming Dynasty, especially in the history of Sanqu in Guanzhong.