凌濛初戏曲批评三题——以其《谭曲杂札》为研究的中心

Probing into Ling Mengchu's Dramatic Criticism from Three Aspects—With Tan Qu Za Zha as the Research Focus

凌濛初的戏曲批评,以《谭曲杂札》最具代表。文章就凌濛初针对"何、王之争""沈、汤之争"所作之评论,以及其与众不同的"本色说"、以"尾声"为代表的"作法论",进行了较为具体之观照。认为凌濛初于两场争论之所批所评,不仅皆持论客观、公正,而且颇具力度与深度,正当行者之所为,是其追求"元人风味"的戏曲认识观的具体反映。《谭曲杂札》之论"本色",不仅把"本色"与"当行"合而论之,而且还将通俗视为"本色"的内核,既机杼独出,又特色鲜明。而论"尾声",则着眼于"史"的角度,秉笔直书,融肯定与批评于一体,只眼别具。

Of all the works of dramatic criticism authored by Ling Mengchu,Tan Qu Za Zha is the most representative one. This paper investigates into issues like Ling＇s comments or positions on the ‘dramatic debate between He Liangjun and Wang Shizhen＇and the ‘dramatic debate between Shen Jing and Tang Xianzu＇and examines Ling＇s proposition that dramatic creations should prioritize originality and simplicity and that an epilogue should be added following the conclusion of a play to reinforce the dramatic effect. It is contended in the paper that Ling＇s critical comments on the afore-mentioned debates among dramatists are objective and convincing,which reflects his personal pursuit for preserving the dramatic flavor of the Yuan Dynasty. Tan Qu Za Zha elaborates on the relationship between seeking originality and simplicity on the part of dramatic creations and being accomplished in dramatic music and poetic rhymes on the part of dramatists. Besides,his comment on the inclusion of an epilogue at the end of a play is indicative of his unique perspective on the dramatic styles.