南戏体例“输入”说质疑——以《张协状元》与《沙恭达罗》为例

Question on Import of Nan-xi Style

郑振铎先生曾指出,在温州发现了梵剧《沙恭达罗》写本,我国现存最早的汉文剧本《张协状元》也诞生于温州,两者竟“是如此的相肖合”,足以证明“传奇的体例与组织完全是由印度输入的”。其实,《张协状元》虽与《沙恭达罗》具有某些相似性,但二者的不同点更多:一为单线发展,一为双线交织;一为代言体,一为不完全代言体;一为诗体,一为曲体;一为分幕结构,一为人物上下场结构;一凸显人物,一凸显行当。《张协状元》与《沙恭达罗》的某些相似性,并不能证明《张协状元》模仿了《沙恭达罗》,《张协状元》的体例主要源于宋代话本和诸宫调。

Zheng Zhengduo has ever made a note that the ancient manuscript of the Buddhist play, The Recognition of Sakuntala （hereinafter referred to as Sakuntala）, was discovered in Wenzhou, while the earliest Chinese script that can be seen today, ZhangXie the Highest-ranking Candidate in the Palace Examination （hereinafter referred to as Zhang Xie）, was also there produced. Zheng has noticed ＂should the two be so coincidentally similar in style＂ which might sufficiently prove that ＂the style and format of ch＇ uan-ch＇i is an import from India. ＂ This paper agress that the two plays share quite a certain obvious similarities, but further argues that the differentia between Sakuntala and Zhang Xie is indeed more distinct： the former abides to a single track development, the latter adopts the double interwoven thread;the former speaks a character＇s voice, the latter employs a third person narration skillfully; Sakuntala is a verse in several episodes, focusing on depiction of characters, Zhang Xie is in ch＇u, a melodious tune, and comprises only two acts, with a purpose to highlight the prominence of casting and personating, The comparability, similitude and resemblance between the two can never lead to a hasty conclusion, that Zhang Xie has modeled itself on or followed after Sakuntala. In fact, the artistic form of expression of Zhang Xie stems from hua-pen, script for storytelling in Song folk literature, and modes of ancient Chinese music as well.