《男弹》的百年承袭与流变

The Inheritance and Variation of the Male Tanci in Hundreds Years

洪升《长生殿》传奇第38出《弹词》(《男弹》),在宫调、套数、格律、板式等方面,都直接继承自元佚名杂剧《货郎旦》第4折《女弹》。《女弹》主要以曲的形态流传,而《男弹》则剧坛、曲坛两擅。清中叶至近代,《男弹》笛色渐变,由小工调、尺字调降为尺字调、上字调,渐成定式。这是宫调调式意义渐衰、笛色兴盛的体现,也与《男弹》的剧情、行当相关,同时可能受到清末京剧发展的某些影响。

Tanci （the Male Tanci）, Scene 38 of Hong Sheng＇s romance Love in the Palace of Eternal Life has inherited the modes, circles of songs, meter and rhythm from Act 4, The Female Tanci, of The Peddler （Huo Lang Dan）, the anonymous Zaju Opera of the Yuan Dynasty. The Female Tanci spreads mainly in the form of qu, whereas the Male Tanci spreads in both theatrical and qu circles. From the mid Qing Dynasty to modern times, the flute-key of the Male Tanci varied gradually by adjusting xiao-gong key and che key down to che and shang key, and was thus set. It means that the modes are weakened gradually, and the flute key prospers instead. It is also associated with the Male Tanci plot and the role types, and may be affected by the development of Peking Opera at the end of the Qing Dynasty.