文情·文事·文法:毛声山批《第七才子书琵琶记》的三维理论建构

Three-demension Theoretical Structure of Mao Shengshan's Comments on Diqi Chaizishu Pipaji(第七才子书琵琶记)

清初毛声山批点的《第七才子书琵琶记》是明代以还《琵琶记》评点本中的集大成之作,毛声山从文情、文事、文法三维角度建构起了相对比较完善的戏曲评点理论体系:"文情"的多层次性揭示了评点中情感与形式之间的张力,"文事"探讨了历史与文学虚构的原则把握问题,"文法"是毛声山艺术经验的理论总结,从而为今天建设民族特色戏曲理论提供经典借鉴。

Diqi Chaizishu Pipaji（第七才子书琵琶记） commented by Mao Shengshan at the beginning of the Qing Dynasty is a comprehensive writing among the same writings after the Ming Dynasty.From aspects of sentiment,fact and method,Mao Shengshan set up a relatively perfect theoretical system for operas.The multi-levelled sentiment reveals the strain between the feeling and sytle in the comment;from the comment on the facts,Mao Shengshan explored how to deal with the relation between history and literary fabrication;while the method is the theoretical summary of his art experience.His comments provides references for the construction of the opera theory with national characteristics.