吴梅:曲学批评学的倾心探究与竭力推进

Wu Mei: A Devoted Explorer and Arduous Facilitator of Dramatic Criticism

吴梅是我国近现代史上的曲学大师,毕生大部分时间都在潜心阅读、分析戏曲、散曲作品,给后世留下了内容非常丰富的曲学批评论著。《中国戏曲概论》《霜崖曲话》《奢摩他室曲话》《奢摩他室曲旨》是成体系的曲学批评著作,而尚未整理成著作的大量读曲记以及序跋、散论与书牍、笔记,还有《顾曲麈谈》《曲学通论》的部分章节与《南北词简谱》曲词之跋文,虽然庞杂,却都带有明显的曲学批评特征。吴梅曲学批评学的时代从两宋开始一直至清末、民国初期,时间跨度长,涉及形态广,视野开阔,方式多样,呈现出不拘一格的多维向度,使中国古代曲学批评学或零碎单一或感性随意的散漫状态获得了前所未有的改变。

Wu Mei,a master of drama in the modern and contemporary history of China,was devoted to the reading and analysis of dramatic works and traditional operas most of the time in his life,thus having left to later generations works of dramatic criticism rich in contents.His systematic works of dramatic criticism include Introduction to Chinese Operas,Discourse on Drama（Shuang Ya Qu Hua）,Discourse on Drama in She Mo-ta Room,On the Tenet of Drama in She Mo-ta Room;while numerous odd annotations on dramatic works,prefaces and epilogues,letters and reading notes,etc.embrace overt traits of dramatic criticism.Ranging from the Northern and Southern Song dynasties to the late Qing Dynasty and the early Republic of China,Wu Mei＇s dramatic criticism is marked by its long duration,extensive patterns,broad vision,various modes,and its multi-dimensionality in its study coverage,thereby having initiated an unprecedented change in the fragmentary and single or the perceptual and optional state of dramatic criticism in ancient China.