善隐者与苦隐者的情感共鸣——得全堂夜讌始末及其影响

The Sympathetic Resonance Between the Leisurely Hermit and the Abstemious Hermit:The Full Story of De-Quan-Tang-Ye-Yan and its Impact

得全堂夜讌是冒襄为著名理学家兼遗民陈瑚的来访而举办的戏曲盛宴,夜讌上冒氏家乐演出了《燕子笺》和《邯郸梦》二剧,这两部戏曲所相关和反映的反抗奸佞的历史事件及故国之思使得善隐者冒襄及苦隐者陈瑚摒弃生活方式上的隔阂,达到嫉恶如仇、悲思故明的情感共鸣,并引为同志知己。陈瑚于夜讌后广泛宣传水绘园雅集之胜及冒襄的高才懿行,他为夜宴所作的《得全堂夜讌记》和《得全堂夜讌后记》后来成为孔尚任创作《桃花扇》的历史材料依据,并对之具有精神导向作用。

The banquet in De-quan-tang was the opera feast held by Mao Xang for Chen Hu who was one of the greatest Neo-Confucians and famous diehards of the Ming Dynasty. During this opera feast, Mao Xiang ordered his troupe to perform two plays The Swallow Pad and The Handan Dream. The contents and views reflected in those two plays affected Chen Hu greatly. They adopted their different lift attitudes and ways of characters. As a result, Mao Xiang and Chen Hu became close friends. From then on, Chen Hu sang high praise for the brilliant spectacle of Shuihui garden and the highly respected artistic genies and charming character of Mao Xiang. The essays The Record of the Banquet in De-quan-tang and The Postscript of the Banquet in De-quan-tang written by Chen Hu then became the reference of Kong Shangren＇s great drama The Peach Blossom Fan, which had a vital spiritual role in his writing.