明代曲学中的折中论

The Eclecticism of Drama Research in the Ming Dynasty

明代中后期,戏曲批评出现了本色论、情趣论、折中论的相互论争。本色论主张戏曲创作要符合表演的"本色"要求,在曲词上"明白而不难知",可入乐合律;情趣论崇尚戏文的"意趣神色",为了案头可观,"不妨拗折天下人嗓子"。它们各执一词,互有得失。王世贞、屠隆、王骥德、臧懋循、吕天成、孟称舜、祁彪佳等人兼取两派的长处,指出两派的不足,提出了折中的批评意见,主张戏曲创作"雅俗并陈、意调双美",既"可演之台上,亦可置之案头",将明代戏曲美学提高到一个新的水平。

In mid and late Ming dynasty, drama criticism in the theory of prototype, the theory of sentiment, the compromise theory debates each other. The theory of prototype think drama creation should meet the requirements of the performance, understanding of the song words, and matching the music. The theory of sentiment insisted the beauty of the opera, as long as we can enjoy it, and there is no necessarily to match the rhythm. Wang Shizhen, Tu Long, Wang Jide, Zang Maoxun, Lv Tiancheng, Meng Chenshun, Qi Biaojia and so on, who obtains the strengths of the two parties, points out the shortage of both sides, put forward the compromise, to increase the Ming drama aesthetics to a new level.