沈璟“合律依腔”理论述评

A Critical Review of Shen Jing's Theory of Rhyming and Vocalization

对沈璟“合律依腔”理论应跳出习用的“汤沈之争”叙述范型，而纳入明中叶以来南、北曲隆衰兴替的文化史背景中解读。沈璟以“斤斤返古”为价值取向的曲学主张主要是对吴中新兴昆腔唱曲的全面反思；沈氏“中兴”举措的实质乃是他在尚北、崇元审美理想的支撑下，通过对南曲早期声律传统的总结性研究，以期吴中昆腔唱曲这一南曲“正声”能够秉承元明北曲有律可循、明腔识谱的传统。

Breaking through the traditional statement of 'the Tang -Shen deb ate,'this essay lays Shen Jing's theory of rhyming and vo calization against the historical cultural background,i.e.,the rise and fall of the Northern drama and the Southern drama sine the mid-Ming Dynasty.The author argues:Shen J ing's theoretical orientation toward the classical was a result of his overall reflectionon the newly rising mid-Wu drama in Kun vocalization.Aesthetically pref erring to the Northern and Yuan,Shen made a conclusive research of the rhyming principles in the early Southern drama,aiming at that the mid-Wu drama in Kun vocalization as the orthodox could follow the tradition in the Yuan-Ming Northern drama in which there should be rhyming principles,clear vocalization and readable music notation.