湯顯祖《牡丹亭》三論及其《紫釵》、《南柯》、《邯鄲》述評（下）──湯顯祖《紫釵》、《南柯》、《邯鄲》述評

Three Discussions on Tang Xian-Zu’s Peony Pavilion with a Narrative Commentary on His Purple Hairpin, Southern Oak, and Handan

本人對於湯顯祖劇作之研究已有五篇：
其一〈論說「拗折天下人嗓子」〉
其二〈再說「拗折天下人嗓子」〉
其三〈《牡丹亭》是「戲文」還是「傳奇」〉其四〈《牡丹亭》之「排場」三要素〉
其五〈「拗折天下人嗓子」評議〉
近日本人又重讀《臨川四夢》，將探討《牡丹亭》之心得撰為〈《牡丹亭》概論〉，又將以上舊作五篇，重新改寫，合為〈從論說「拗折天下人嗓子」探討《牡丹亭》是「傳奇」還是「南戲」〉。又因為認為《牡丹亭》所反映湯氏之「至情說」，實由其主題之「三生路」所完成，因又以舊作〈傳統中國愛情觀〉加以刪節濃縮作為基礎，撰成〈從傳統中國愛情觀說到《牡丹亭》之主題「三生路」〉。用此〈《牡丹亭》三論〉，以見本人對於《牡丹亭》在戲曲文學藝術上成就之見解；對於《牡丹亭》主題思想之看法，以及對曲家非議《牡丹亭》乃至《四夢》音律之剖析與解釋。至於湯氏其他「三記」：《紫釵》、《南柯》、《邯鄲》則分別就其文學與藝術，大抵從其題材本事、主題思想、關目布置、腳色運用、排場處理、曲文語言等方面加以「述評」。從而將全文總題為〈湯顯祖《牡丹亭》三論及其《紫釵》、《南柯》、《邯鄲》述評〉，希望本人在「湯顯祖研究」，名家輩出，眾聲𠹔嗒之際，亦能效一得之愚。

I have already had published five studies of mine on Tang Xian-Zu’s plays:
First, “Discussing ‘Bending the Throats of the People of the Whole World’” Second, “Discussing Again ‘Bending the Throats of the People of the Whole World’”
Third, “Is The Peony Pavilion a ‘Drama’ or a ‘Chuanqi Tale’?”
Fourth, “The Three Essential Elements of The Peony Pavilion’s ‘Scenes’”
Fifth, “A Commentative Discussion on ‘Bending the Throats of the People of the Whole World’”
Recently, I have reread The Four Dreams of River Lin and written my investigation results of The Peony Pavilion as “An Introduction to The Peony Pavilion.” I have also combined the above previous articles and rewritten them as “Investigating Whether The Peony Pavilion Is a ‘Chuanqi Tale’ or a ‘Southern Opera’ by Discussing ‘Bending the Throats of the People of the Whole World.’” Further, I deem that Tang Xian-Zu’s “theory of supreme emotion” reflected in his Peony Pavilion was actually completed by its theme “the road of three lives,” so I have abridged and condensed my previous article “Traditional Chinese Views of Love” into the basis of my next article “Discussing from Traditional Chinese Views of Love to The Peony Pavilion’s Theme ‘The Road of Three Lives.’” With the “Three Discussions on The Peony Pavilion,” I demonstrate my opinions on The Peony Pavilion’s achievements in Chinese opera literature and art, my views on The Peony Pavilion’s thematic ideas, and my analyses and explanations of song writers’ criticisms on the musics of The Peony Pavilion and The Four Dreams. As for Tang’s other “three accounts”: The Purple Hairpin, The Southern Oak, and Handan, I respectively “narrate and comment” them in terms of literature and art, mainly on their subject matters, thematic ideas, plot arrangements, role uses, scene treatments, and lyrics and languages. Therefore, I entitle the article “Three Discussions on Tang Xian-Zu’s Peony Pavilion with a Narrative Commentary on His Purple Hairpin, Southern Oak, and Handan,” hoping to contribute my humble knowledge to the field of “studies on Tang Xian-Zu” when successive groups of famous scholars are involving actively and various voices are resounding loudly in it.