從音韻學角度論明代崑腔度曲論之形成與建構

An Analysis of the Evolution of the Theory of the Kunqiang duqu of Chinese Traditional Opera in the Ming Dynasty-From the View of Phonology

音韻學界入明代崑腔度曲論，恰以魏良輔（1526[7]－1586[7]）和沈寵綏（？－1645）為代表，也是崑曲改革創曆與盛行巔峰的標幟，其著作相距大約一個世紀。《南詞引正》（《曲律》，1547）以曲話形式提出崑腔度曲之大綱，《度曲須知》（1639）則以專書呈現具體完整的體系，反映崑腔度曲論從形成到建構的歷史過程。首先，魏良輔只提出「曲有兩不雜，南曲不可雜北腔，北曲不可雜南字」之簡單原則，沈寵綏以此為宗旨，建立「北?《中原》，南遵《洪武》」的理論。其次，魏良輔提出歌者要逐漸修改方言土音。沈寵綏承繼不可混雜鄉音的觀點，建立「宗《中原》之晉，正吳中之訛」的理論，使用六種記認符號。其三，魏良輔提出「平上去入，逐一考究，務得中正」之原則，沈寵按對四聲唱法批卻導窾，建立要領。本文以魏良輔和沈寵綏為崑腔度曲論之形成與建構，並從這三個脈絡觀照沈寵綏的承繼與開展。The application of phonology to the theory of the Kunqiang duqu of traditional Chinese opera, which occurred in the Ming dynasty, is best represented by the works of Wei Liangfu (1526-1586) and Shen Chongsui (?-1645), two dramatists separated by a century. Their works also mark the climax in the innovations and evolution of the genre of kunqu. Their works deal with three aspects of phonology important to the theory of kunqiang duqu. First, Wei Liangfu brought up the simple principle that, 'There are two situations that do not allow mixtures of qu. One is that the Southern songs or qu cannot be mixed with the Northern singing style or qiang; and the other is that the Northern qu cannot be combined with the Southern words.' Shen Chongsui took this principle as a central issue, and furthermore established the theory: 'Northern phonology is consonant with rhymes in the rime book Zhongyuan yinyun; while the South follows the authentic rhyming of the Hongwu reign period (the rime book titled Hongwu zhengyun).' Second, Wei Liangfu proposed that singers should increasingly modify dialect languages and local accents. Shen Chongsui took up this point, urging that central accents not be muddled up by local ones, and introduced the theory of 'modeling sounds on the central standard and thus correcting the errors of the Southern sounds.' He used six standard notations to structure the theory. Third, Wei Liangfu broached the principle of 'examining even, ascending, falling, and entering tones (ping, shang, qu, and ru) individually and being sure that the four intonations each reach their standard.' Moreover, Shen Chongsui was unsurpassed in formulating the essence of singing the four intonations; he founded their main principles. The paper will discuss the evolution of the theory of Kunqiang duqu and observe the heritage and development from these three threads of thought.