明清傳奇名作中主題意識之深化與其結構設計

The Intensification of Thematic Consciousness and Structural Design in Ming Qing Chuanqi Drama

明清傳奇由早於元雜劇的宋元南戲發展而來，在原有南戲體制的基礎上，不僅繼承了元雜劇的種種藝術經驗，而且廣泛吸收各種新的藝術因素，予以進一步綜合性的創造。相較於元雜劇的特重抒情意味，明清傳奇中的敘事部分成為作品的中心主題，因而亦產生了敘事結構中的新要素－－即所謂的「情節趣味」(story interest)，而此要素往往能改變「主宰作品思想的完整形式」亦即所謂主題結構。傳奇之確認情節結構之重要性，正是基於戲劇藝術的「再現性」，而把情節結構這一再現性的敘事因素提到首要的地位，顯示明清傳奇之「情節趣味」已大為增進，具有與抒情意味相呼應乃至凌駕其上之勢了。基本上，在明清劇作家提昇中國戲曲之「戲劇性」的過程中，明清傳奇「以和為美」的審美意識與明清劇論家之有機整體結構觀是息息相關的。總體說來，傳奇的主題思想具有向心的、和諧的性質，而形式卻是體制龐大，具有高度鋪陳、舒展的特點，其典型的悲、歡、離、合情節結構模式，正是此種向心趨勢、和諧精神的體現。傳奇一本數十出的龐大體制，使得悲、歡、離、合的複雜情節能從容而充分地舒展，而且向全劇情節曲折奇巧與文詞爭奇鬥妍的方向發展。在傳奇的創作過程中，明清劇作家主題意識之開始覺醒到逐漸深化，促使戲曲結構的有機整體性增強，也刺激作者要求戲曲作品中思想意蘊的完整深刻，使思想意蘊的完滿揭示成為戲曲建構有機整體的一個要項，而呈現完整思想意蘊的要求亦反過來促使劇作家自覺到劇作結構設計所應具有之整一性。因此，本文首先著眼於主題在創作過程中之重要性及其與結構之關係，並透過明清劇論中以「意」與「局」的關聯為焦點的結構觀之探討，進一步分析創作過程中敘事主題與表達意念之關聯，以及明清劇作家主題意識之深化歷程；以此為基礎，再進而探討明清傳奇作家主題意識與其創作活動之關係，以及傳奇名作所表達之主題對其結構設計之影響。

Having develped from Song Yuan southern drama (Nanxi)，Ming Qing chuanqi drama not only succeeded the artistic experience of Yuan drama on the basis of Nanxi's theatrical conventions, but also broadly absorbed various new artistic elements for synthetical creation. Compared with Yuan zaju's emphasis of lyrical quality, Ming Qing chuanqi drama's narrative part becomes the central motif of a composition. A new factor of the narrative structure is thus introduced, which is the “story interest.” This kind of “story interest” changes the entire form of thought which governs the work, that is, the thematic structure. The reason why chuanqi confirms the importance of plot and structure is due to the “representationality” of dramatic art. The fact that representational narrative elements like plot and structure were valued as primary factors in a play manifests the increase of “story interest” in chuanqi writing, which is even placed above lyrical interest. Basically, in Ming Qing dramatist's pursuit of “dramaticism” in chuanqi writing, the aesthetic consciousness of “har-mony as beauty” (yi he wei met) in chuanqi is closely relevant to the dramatic theorists’ whole and organic structural concept of a play. In general, while chuanqi tends to emphasize “hamony” in theme, it is lengthy in form, which is easily elaborated in complicated details. Chuanqi's typical structural pattern.....joys and sorrows, partings and reunions......is realization of this kind of harmonious spirit. The lengthy form of chuanqi makes the complicated plot of joys and sorrows, partings and reunions be able to develop completely, and become more and more fantastic and refined. In the process of chuanqi writing, the awakening and intensification of the Ming Qing dramatists’ thematic consciousness help the emphasis of an organic unity of dramatic structure, inciting the dramatists to demand totality and profundity of thought of a play. The complete manifestation of thought beomes an important factor for the structure of a play, which also inspires the dramatists to realize the unity of srtructural design in dramatic composition. In this paper, taking the analysis of the significance of theme in dramatic writing and its relations with structure as my point of depature, I have discussed Ming Qing dramatic theorists’ structural concepts which are focused on the correlation between“yi” (meaning) and “ju” (structure). By further analysis of the relevancy of the narrative theme to the original writing idea, 1 have also dsicussed the intensifying process of thematic consciousness in chuanqi drama. I have then examined the correlation between Ming Qing dramatists’ thematic consciousness and their writing activities, and have finally analyzed the theme expressed in the masterpieces of chuanqi drama and its influence on structural design in each play.