從《紅蕖記》考察沈璟曲學觀之建構歷程

Investigating the Development Process of Shen Ching’s Ideas of Quxue from the Perspective of the Red Lotus Notes

《紅蕖記》是沈璟戲曲創作之初筆，該劇詞藻富於修飾，自此作之後，沈璟「一變為本色」，無論是曲學觀，抑或創作實踐上，逐漸轉向為崇尚本色與格律，因此該劇在沈璟創作風格變化，與曲學理論建構之歷程中，別具特殊意義。本文主要探討之主題有三項：其一，沈璟創作《紅蕖記》崇尚詞藻之背景因素；其二，《紅蕖記》對沈璟曲學建構之意義性；其三，論明清曲論家對《紅蕖記》之評議。經由探討，可知沈璟在創作之初，難免受到吳中駢儷之風影響，卻也自覺性的意識到過度鍛鍊文詞，將不利場上演出，於是有所轉向。寫作《紅蕖記》也正是嘗試探究傳奇雅俗風格定位，最終擺脫駢儷堆垛，以諧趣通俗面對市井群眾，在題材選取上，也趨向日常生活。又由於「崑曲化」前期作家尚崇詞藻，並慣用鄉音俗語協韻，未能樹立傳奇格律典範，是以沈璟創作《紅蕖記》，亦欲具體實踐崑山腔之格律軌範，有意識的開始建構音律法度。明清曲論家評議此劇時，則帶有褒貶兼容之複雜性，且映照出自身之本色觀。

Red Lotus Notes, a play rich in rhetoric, is Shen Ching’s first play creation. Since then, Shen Ching“changed his style to originality”and gradually turned to advocating originality and rhythm in both his ideas of Quxue (the Study of Qu) and his creative practices. Therefore, this play holds special significance in the development process of Shen Ching’s creative style and the theories of Quxue (the Study of Qu). This study mainly investigates three topics: First, the background factors behind Shen Ching’s advocacy of rhetoric in the Red Lotus Notes; second, the significance of Red Lotus Notes in the development of Shen Ching’s ideas of Quxue (the Study of Qu); third, the discussion on the comments from play critics in the Ming and Qing dynasties on the Red Lotus Notes. Based on the investigations, this study found that Shen Ching was inevitably influenced by the Wuzhong style of parallel prose at the beginning of his creation, but he also consciously realized that excessive practice of literary expression would be detrimental to play performance on stage. As a result, he made some changes. Creating the Red Lotus Notes was also his attempt to explore the positioning of the legendary elegant and popular style. Eventually, he got rid of parallelism and used humor and popular language to face the audiences. In terms of selection of subject matter, he also tended to be attracted by daily life. Moreover, the early creators of“Kunqu-style”advocated rhetoric and used local dialects and colloquialisms to rhyme, which failed to establish a model for legendary rhythm. Therefore, when Shen Ching created the Red Lotus Notes, he also intended to specifically implement the rhythmic rules of Kunqu and consciously began to develop a musical law. When the critics in the Ming and Qing dynasties reviewed this play, their comments were complex, with both praise and criticism, reflecting their own unique perspectives on originality.