想象与重构:清人戏曲小说中对严嵩的“背景化”书写

Imagination and Reconstruction: Contextualized Writing of Yan Song in Qing Dynasty Operas and Novels

清代出现的以严嵩为主要或次要人物的通俗文学作品层出不穷,其中《一捧雪》传奇、《绿野仙踪》、《海公大红袍全传》三部作品影响颇大,也体现出严嵩相关作品由明末清初至清代中后期的作者意图与写作倾向:从《鸣凤记》到《一捧雪》传奇,严嵩政事渐渐不为所用,其传闻轶事更占上风;《绿野仙踪》对严嵩只借其名而捏造他事;《海公大红袍全传》严嵩空有奸名,讲的却是时人和珅倒台。在这一过程中,严嵩被民间化,同时也被"背景化":其一是故事所需的奸臣背景,其二是情节发生的浊世背景,其三是影射当下的时政背景。这些共同构成诸文本中与"忠""善"相对的对"奸""恶"的描写和需求。

In the Qing Dynasty,popular literary works with Yan Song as the main or minor character emerged endlessly.Among them,three books including Yi Peng Xue,Lv Ye Xian Zong,Hai Gong Da Hong Pao Quan Zhuan were most influential.These works concerning Yan Song reflect the authors’intention and writing tendency from the late Ming and early Qing dynasties to the middle and late Qing Dynasty:in Ming Feng Ji and Yi Peng Xue,the content of the books gradually became less about Yan’s political affairs and more about his anecdotes.And Lv Ye Xian Zong simply made up other things in Yan Song’s name;Hai Gong Da Hong Pao Quan Zhuan only borrowed Yan Song’s treacherous official name to depict the fall of the official He Shen.In this process,Yan Song was popularized and contextualized at the same time.The first reason is that the story required a background of the treacherous official;another is that the plot required a turbid background;and the last is that these works had to reflect the political background at the time.All of these constitute the description and demand of"treachery"and"evil"in opposite to"loyalty"and"goodness"in the texts.