論《秦淮煙雨》侯、李情愛的點染手法

The Dramatic Arrangement on Ho AND Lee's Love in Chin Hwa Yen Yun

二○○一年，台灣公共電視推出改編《桃花扇》的精緻歌仔戲《秦淮煙雨》，率由葉青歌仔戲團擔綱演出，編劇陳永明與江佩玲共同攜手，老幹新枝，獲得廣大觀眾熱烈迴響。《桃花扇》內容皆有所考，依其〈凡例〉所言：「朝政得失、文人聚散，皆確考時地，全無假借。至於兒女鐘情，賓客解嘲，雖稍有點染，亦非烏有子虛之比。」《秦淮煙雨》劇情大意大抵也是「南朝興亡，遂繫之桃花扇底」。不過，《秦淮煙雨》結局並不以「侯公子斷除花月緣」與李香君雙雙入道作結，雖祇安排李香君入道，但仍屬「入道模式」。劇情的開展與結尾的收煞與原著差距不大，但是歌仔戲在出場人物的選擇上，另增杜瑤麒、蘇紅梅（韋千秋）、韋百里三人，使得原本單純的生旦愛情戲變成錯綜複雜的多線發展，也讓改編本大量著墨在侯、李等人的愛情戲份上，幾乎佔了絕大篇幅，躍升為戲劇主軸，南朝興亡便淪為副線了。歌仔戲改編本有其獨特的詮釋模式，本文則以侯、李兩人情感愛戀為探討方向，藉由兩文本的對照比較，分析二者不同的藝術點染手法。

In 2001, Taiwan's Public TV produced a Taiwanese drama called Chin Hwa Yen Yun adapted from Peach Blossom Fan. With Yei-Ching Taiwanese drama team as the characters, and Chen Yun-Ming, Chiang Pei-Ling as the scenarists, this drama earned the favor of its audiences. The contents in Peach Blossom Fan make lots of reference to the real historical incidents. The synopsis of Chin Hwa Yen Yun describes the relevance of the rise and fall of the Nan Dynasty to the Peach Blossom Fan. However, the denouement of Chin Hwa Yen Yun doesn't resemble that in Peach Blossom Fan—love between Ho and Lee comes to the end and they both take the monastic vow. In the end of Chin Hwa Yen Yun, only Lee Hsiang-Jun takes the monastic vow, and this arrangement of denouement is called ''Rou Dao'' referring to the mode of the end of love and spending the rest of life to be a monk or a nun. The opening and ending of Chin Hwa Yen Yun are similar to those of Peach Blossom Fan. However, three new characters are added to the cast of the drama: Do Yao-Chi, Su Hon-Mei, and Wei Bai-Li. The love affairs turn to be more complex. Love affairs among characters in the drama become very much in the foreground. The rise and fall of Nan Dynasty recedes to the background. Unique ways of interpretation exist in the adapted version of Taiwanese drama. The article talks about love affair of Ho and Lee. Through the comparison of Chin Hwa Yen Yun and Peach Blossom Fan, the different ways to characterize love in the two dramas are analyzed.