从慈禧到“清流”:同光中兴中的“声”与“色”

From Cixi to "Qingliu":The Amusement in Tongguang Resurgence

中兴时代的官员是需要宣泄快感的,带给他们快感的是京戏及其名角儿。皮簧是声,名角是色。由于法律严禁宿娼狎妓,官员便以狎优为替代品。最高统治者慈禧喜好京戏,本为寻常的耳目之娱。但官员则借助于"上有所好",不断将精神层面的娱乐向物欲层面转变。从同治皇帝到王公大臣,从封疆大吏到以年轻的翰詹词臣为主体的"清流"们,"选歌"为表,"征色"为实。绕过律例的约束而合法腐败,以声色为媒介而夤缘攀援。这是纵情声色的实质。尽管"清流"以其文学才华为狎优贴上了风雅的标签,将燕饮赏戏和问学议政混为一体,形成了京师官场的新风尚,但风尚的背后,仍掩盖不住法纪松懈、人心无定的新现实。中兴的同光,也是"声"与"色"的同光。

Amusement was certainly important in the political Restauration of Tongguang Resurgence, which could be offered from Peking opera and it＇s famous artist. Additionally, because of the forbidden of visiting prostitutes, artist-communication met also the popularity in this case. As a Pekingopera fan, Cixi＇ s hobby met approval of the officials, that not only the the top-manderins, but also the Hanlin all involved. ＂Qingliu＂（scholar-officals） did give the artist-communication a noble elegance shining, but the new model was based on a declining system, which with all political efforts of ＂Qinglin＂ could not be stopped.