論《漁樵記》、《爛柯山》之主題變奏與文學意象──兼考述改本選本與崑劇表演記錄

Variations in Theme and Literary Imagery of Yuqiao Ji and Lankeshan: With an Investigation of Revised and Selected Versions and Kunqu Performance Records

元《朱太守風雪漁樵記》雜劇、明《爛柯山》傳奇皆取材於《漢書》〈朱買臣傳〉，演繹為「朱買臣休妻」戲曲故事。戲曲體製劇種根據史傳而演繹相關故事，多已亡佚或僅存殘曲散齣；現存完整劇作僅有《漁樵記》和《爛柯山》，雖根據史傳鋪陳，然其主題意蘊和文學意象迥然有別。明末清初以來的戲曲選集和曲譜，收錄《漁樵記》的改本名曰《負薪記》，亦收錄《爛柯山》散齣，歷經清代乾隆乃至民國以來猶有表演記錄。當代亦有上海崑劇團《爛柯山》、江蘇省崑劇院《朱買臣休妻》，係從《爛柯山》的六齣折子戲串連修編而成小全本，至今傳唱不衰。本文從主題變奏與文學意象的視角分析《漁樵記》和《爛柯山》，並考辨明代《負薪記》雜劇對《漁樵記》之改編，釐清明清戲曲選本與曲譜選錄散齣《負薪記》、《爛柯山》之混淆；更運用清末民初的報刊資料，考述其表演記錄。本文重新梳理脈絡，透過歷時性的主題變奏，呈現戲曲史與文學史「文士劇」至「世情劇」的發展，用以闡明當代兩部崑劇小全本《爛柯山》及《朱買臣休妻》的歷史背景與藝術淵源。

The origins of two anonymous dramas, the Yuan dynasty Zhu Taishoufengxue yuqiao ji (朱太守風雪漁樵記 Zhu Taishou’s Fishing and Woodcuttingin Windy Snow), and the Ming dynasty Lankeshan ( 爛柯山 Mount Lanke), liein the Zhu Maichen zhuan ( 朱買臣傳 Biography of Zhu Maichen) of the HanShu ( 漢書 Book of Han). Both dramas tell the story of Zhu Maichen divorcinghis wife. Most dramas based on historical biographies are now lost or missing;Yuqiao ji and Lankeshan are the only extant complete dramas of their kind.Although they are based on the same historical biography, they differ greatly inthe themes they present and literary imagery they employ. Anthologies of operascores since the late Ming and early Qing include revised versions of Yuqiaoji, retitled as Fuxin ji (負薪記 Carrying Firewood). These anthologies alsoinclude incomplete chapters of Lankeshan as well as records of performancesfrom the reign of the Qianlong Emperor to the Republican era. Contemporaryopera performances, such as the Shanghai Kunqu Opera Troupe’s Lankeshanand Jiangsu Provincial Kunju Theatre’s Zhu Maichen xiu qi (朱買臣休妻Zhu Maichen Divorces His Wife), are based on a revised, short, yet completeversion of Lankeshan, compiled from six chapters of excerpted highlights, andare still widely performed today. This article analyzes Yuqiao ji and Lankeshan from the perspective ofthematic variations and literary imagery. It also investigates how Yuqiao jiwas adapted as Fuxin ji in the Ming dynasty, clarifying the confused mixtureof selected and incomplete versions of Fuxin ji and Lankeshan. Further,this article investigates records of performances published in newspapersand periodicals from the late Qing to the present. It presents a new way ofunderstanding the context: exploring diachronic variations on theme, it revealsthe course of development of scholars’ plays (wenshi ju 文士劇) into worldlyplays (shiqing ju 世情劇), and uses this to elucidate the historical backgroundand artistic origins of the two complete contemporary versions of Lankeshanand Zhu Maichen xiu qi.