南戏《西厢记》考

A Criticism or the Southern Drama Xixang Ji

通过对自宋元南戏迄明清传奇间的绵延不绝的“南西厢现象”的审 视，可见元代“南”、“北”《西厢》双枝竞秀、并行不悖，表明元代南戏、杂 剧不存在互相排它、彼消我长的关系。元戏文《西厢记》入明后销声匿迹，由 崔时佩编撰、李日华增订的《李西厢》所代替，风骚独领明南戏直至明清传奇 的“南西厢”，这是南成声腔代有更替，戏曲生存环境变化所使然；“海盐子 弟”与“苏州戏子”共演《南西厢》的事实，说明作为明代南戏四大声腔之一 的早期昆山腔形成应同吸收海盐腔成就有关；《西厢》“北剧南化”与“易北为 南”现象，反映了明中叶戏曲处于由南北曲交融到全面向南曲移位的发展态 势；围绕着“南西厢”尤其《李西厢》的评价问题，充分展示了我国古代戏曲 批评家不同的戏曲价值观念，也显示了“西厢世界”的丰富多彩。

By means of an examination on 'the phenomenon of southern Xixiang', which prolonged from the Southern drama in the Song and Yuan dynasties to the romance in the Ming and Qing dynasties, one can see that the 'Southern' and the 'Northern' Xixiang in the Yuan dynasty were prosperous all togethre, and the Southern drama and miscellaneous drama in the Yuan dynastly did not repudiate each other; and that the drama Xixiang Ji of Yuan version was replaced by the Li's Xixiang compiled by Cui Shipei and made completed by Li Rihua, which was again outstripped by the Southern Xixiang in thu Ming dynasty. The essay fully exposes the different critical values of classical Chinese dramatists and rich colours of the 'Xixiang world.