何良俊的戏曲观探源

On HE Liang-jun's Views on Operas

何良俊的戏曲观是庞杂而富有创新意味的,在戏曲史论上,他沿袭了雅正的"声与政通"的观点;在戏曲语言论上,他提出两个判断标准:"本色和当行"、"俊语";在音律论上他发扬元人周德清的以中原音为正声的观点,并且认同杨慎关于音韵的见解。笔者发现,他的戏曲观虽包含有浓厚的"雅正"气息,但又能博采众长推陈出新,其中蕴含有清晰的脉络,理清这些脉络,将对于我们研究明代嘉靖和万历年间的戏曲有很大的帮助。

The ideas about Chinese traditional operas of HE Liang-jun are complicatedand innovative. In the theory of opera on history, he inherits a sublime standpoint of“sound is interrelated with polity”; in the theory of opera language, he puts forward theideas of “distinctive character and adeptness,’ and “brilliant language”; in the theoryof opera tonality, he develops ZHOU De-qing’s opinion of “the voice of central plainsof China is orthodox”, and agrees with YANG Shen’s view on opera tonality. In short,the opera theory of HE Liang-jun is extracted and developed from many former operatheorists, and it contains a clear context. Sorting out these lines will do great help to ourresearch on the operas of Jia Jing and Wan Li Years of Ming Dynasty.