晚清戏曲宗元观念与王国维的元代戏曲研究

The Concept of Zongyuan in the Dramas of Late Qing Dynasty and Wang Guowei's Research on Yuan Opera

晚清至民初是中国古典戏曲研究从传统向现代转型的时期。焦循、梁廷楠、姚燮、俞樾等人的戏曲评论与研究中,宗元倾向非常明显,为元曲"一代之文学"观念注入了丰厚的理论积淀与材料基础,并直接影响了王国维的戏曲研究。王国维对元剧"文章"的重视,对"自然"观念的强调,对"悲剧"、"意境"等的阐释,固然有传统诗文、戏曲观念的影响,但与晚清戏曲家的建构更为前后相接,吸纳借鉴之迹明显。他融中国传统戏曲观念、研究方式与西方文艺理论为一体,借助于对元杂剧的研究推举现代学术观念,完成了中国古典戏曲的现代转型,也促成了现代戏曲研究格局的形成。

From the late Qing Dynasty to the early years of the Republic of China, it was a period of transition from the traditional to modern Chinese classical opera studies. In the opera reviews and studies of Jiao Xun, Liang Tingnan, Yao Xie and Yu Yue, the tendency of zongyuan （imitating Yuan operas） was very obvious, which injected rich theory accumulation and material foundation for the concept of ＂literature for one era＂ of the Yuan Dynasty and directly influenced Wang Guowei＇s study of drama. Wang Guowei＇s emphasis on the conception ＂wenzhang＂, as well as on the ＂nature＂ of Yuan opera, and his interpretations of ＂tragedy＂ and ＂artistic conception,＂ cannot be deprived of the influence from the traditional poems and operas, but there is more direct and jointed relation with the late Qing opera writers. He integrated the traditional opera con modernized the Chinese classical operas with the formation of modern drama research structure cepts, help of research methods with the Western literary theories, and the research on the Yuan opera. It also contributed to the