从《风流梦》眉批看其《牡丹亭》底本及曲律问题

On relationship between A Romantic Dream and The Peony Pavilion

参照冯梦龙《风流梦》眉批,将《牡丹亭》案头本、改本《风流梦》、改编之时的演出记载及改编之后的演出本,进行横向、纵向考查,有助于重新认识它们之间的改编、传承关系。《风流梦》的改编不仅以《牡丹亭》案头本为基础,同时又参考了当时演出本,是以这二者为其共同底本的。以往学界普遍认为是昆曲折子戏采用了冯梦龙改本,而经过考查却恰恰相反,是冯本参考采纳了当时的演出本。《牡丹亭》演出本,基本上仍是沿用了汤显祖原创曲词,这说明沈?等戏曲家强调的《牡丹亭》不合律,并非实际上的难以演唱,而由是否合律所引起的汤沈之争,其实是由于二者对于曲律问题所持的标准、尺度不同而造成的。冯梦龙的曲律主张贯穿于其《牡丹亭》改编实践中,他的曲律主张是汤沈之争背景下,一种既重曲律又重文辞、两兼其美的倡导。

With the help of Feng Menglong's headnotes on A Romantic Dream,both horizontal and vertical comparisons are made between the scripts of The Peony Pavilion,the adapted version of A Romantic Dream,the records of its performance and adapted script for the performance.The purpose is to distinguish the original work from the adapted version.Findings show that the adapted version of A Romantic Dream is based not only on the scripts of The Peony Pavilion but also on the performance version,which is opposite to the generally accepted view that the Kunqu opera A Romantic Dream adopted Feng's adapted version.The performance of The Peony Pavilion still followed the original scripts by Tang Xianzu.This may explain that the dispute between Tang Xianzu and Shen Jing was not on the specific work of The Peony Pavilion but on the standard of musical tune of opera.In this aspect,Feng Menglong advocated that importance should be attached to both the content and the form,and he himself put this view into practice in his adaptation of The Peony Pavilion.