戏曲“宗元”思想与明清戏曲选本

Opera's "Zong Yuan" Thoughts and Drama Anthology of the Ming and Qing Dynasties

由于元曲的卓越成就,加之文人"崇古"心理的影响,后代的戏曲创作与批评往往以元曲为圭臬。明清戏曲选本作为一种特殊的批评方式,也呈现出强烈的"宗元"意识,而这种取向最集中地体现在选本的序跋中。这些戏曲选本的编选者以及序跋作者一方面通过将元曲溯源到《诗经》,使元曲向雅文学靠拢,从而提高元曲的地位;另一方面将元曲看作戏曲之正宗,不但使元曲成为明清戏曲创作与批评的典范,也使它成为明清戏曲选本编选的重要标准。此外,明清戏曲选本作为戏曲作品的重要传播媒介,对戏曲经典名著(尤其是元曲名著)的形成与发展有着重要的促进、推动作用。

Due to outstanding achievements of Yuanqu, combined with the effects of literati＇s ＂worship of the ancient＂ , drama creation and criticism of later dynasties took Yuan Qu as a standard. Ming and Qing Dynas-ties drama anthology, as a special kind of criticism, also presented strong preference to ＂Zong Yuan＂ , which was shown in the prefaces and postscripts of anthology. The editors and authors of drama anthology, as well as writers of preface, traced the Yuan Qu to its origin, ＂the book of songs＂ , and made it closer to elegant litera-ture, improving its status. At the same time, they regarded Yuan Qu as the model and made it the representa-tive of the creation and criticism of the Ming and Qing Dynasties, and also set it as a key standard for the dra-ma anthology of the Ming and Qing Dynasties. In addition, classics is fulfilled with their artistic achievements, but the drama anthology as an important media of drama played a key role in promoting and forming classic drama, Yuan Qu classics in especial.