孟称舜戏曲风格观念析论

Meng Chengshun's Stylistic Theories on Drama

孟称舜是晚明曲坛举足轻重的作家和理论家,《古今名剧合选》是其选编的一部集选本与评点为一体的元明杂剧选集,在该选的内容、序言及评点中,彰显出孟氏独特的戏曲风格观念。孟称舜主张论风格应从具体作品出发,而不能简单地以南北地域的不同来区分;明确提出戏曲的两大风格——婉丽和雄爽,驳斥风格优劣论;追求风格的多样性和独创性;在评点中能通过比喻、比较等手法形象恰切地指出作家作品整体风格及具体风格。孟称舜的戏曲风格观念不仅在明代影响深远,而且对清初李玉的元杂剧风格论具有一定的先导作用,在中国古典戏曲理论中具有承前启后的重要地位。

Dramatist, theorist and anthologist of the late Ming Dynasty, Meng Chengshun was significant in shaping China＇s dramatic art. In his preface and notes of An Anthology of Dramas Old and New, he proposed many of his important theories about drama, He says that the assessment of a particular dramatist＇s style should be based on specific works rather than his geographical location, which is, unfortunately, a common practice in China; that there is no superiority or inferiority between the two prevailing styles, the beautiful and the sublime; that diversity of style is better than unity; and that critics should make their theories rich and colourful by working in metaphors, allegories, etc.