泥傀儡逢场作戏,也只与人同善──论沈起凤《红心词客四种》中之文人主体与社会视野

On the Literati Subject and Social View in Four Dramas of Essayist Read Heart (《 红心词客四种》) by Shen Qifeng (沈起凤)

本文以清代中叶重要戏曲家与小说家沈起凤为对象,企图揭示同?期戏曲风教观之"事理化"与"世情化"氛围中,作者在面对关乎"意旨"的意义选择与关乎"表现"的艺术技艺之双重关注时,其所作的策略运用,与经历实践后的自我成长与反思。故剧中有关文人主体呈现所开展之"社会视野",与戏剧情节结构中所展现之"世情网络",以及文人风情事相背后所蕴涵情、理、欲的种种纠葛,成为论述焦点之所在。本于此,本文想进一步探索的是:沈起凤在清代中叶剧坛的风教氛围中,其创作历程与旨趣有何特为着眼之处?沈起凤剧作中如何呈现文人主体之自我认同与世情网络?沈起凤剧作运用了何种"奇""巧"与"易性变装"的技巧来叙写"世情",彰显"伦理"?明清文人在面对晚明清初以来社会多元价值发展之冲击后,可能产生何样的"社会认同"危机,以及在此危机下"主体"会有何样的自觉,此种历程是否可知?剧中才子主体价值的自我分裂:一方面企图用游戏人生的态度,来展现自我之个体意识;另一方面,屈就现实生活的规范,只能在正统文化意识的认同中,寻求自我肯定。这些文人心态之转变与主体意识的多重性,及其中所展现之"社会认同危机",具有何种意义?而在其建构"叙述"的同时,是否反映了具有社会"集体图像"意义的群体思维方式?等等。

This paper attempts to reveal,in an atmosphere of 'Rationalization(事理化)' and 'socialization(世情化)' of the concept of opera enlightenment(戏曲风教观),the strategy application and self-development and self-reflection of the dramatist and writer of middle Qing Dynasty,Shen Qifeng,who is the object of the paper,when he faces substance choice about 'intention' and the double concerns of art and technique about 'performance',after experiencing practice.Therefore,in the opera,the 'social view' developed by literati subject,the 'social network' shown in the structure of opera plot,and the entanglements of feelings,reasons and desires hidden behind the literati affairs compose the focus of this paper.Based on it,this paper gets to a further exploration:in an atmosphere of opera enlightenment middle Qing Dynasty,what is the special starting point of Shen Qifeng's composition process and interest? How does Shen Qifeng's opera show the self-identity and social network of literati subject? Which skills of 'queer','ingenious','changing gender and dressing' does Shen Qingfeng use to narrate 'socialization' and to display 'ethics'? What kind of 'social identity' crisis of Ming and Qing Literati could possibly occurred after the impact of social multi-value development since late Ming Dynasty and early Qing Dynasty? In such crisis,what could be the conscientiousness of the 'subject'? Could this process be known? In the opera,the self-separation of gifted scholars' subject value is:on the one hand,they attempt to exhibit the individual conscientiousness of their selves with an attitude of playing a life,and on the other hand,they condescend to take the rules of real life and pursue the self approval in the identity of orthodox cultural ideology.What is the meaning of the transformation of these literati's attitude,of the subject ideology's multiplicity,and of the 'social identity crisis'? Meanwhile,when he composes a 'narration',is there a collective thinking way which possesses a meaning of social 'collective picture'?