金元叙事散曲与早期杂剧剧本的编写形态——以散曲的叙事主人公与杂剧的主唱人比较为中心

The Play-text Forms of Early Zaju and Narrative Sanqu in the Jin and Yuan Dynasties

"叙事主人公"的设置是金元叙事散曲的曲文叙事体制的本质性、核心性要素,它需要在故事情境中设置一个第一人称身份的叙述人,并以其视角、立场来叙述故事的发展进程。比较而言,元杂剧曲词则由"主唱人"(正末或正旦)来负责表述,"主唱人"以第一人称身份装扮成故事中的人物而做代言体的曲唱,他既是杂剧曲词的叙述人,也是杂剧故事的主人公,故而是杂剧曲词的"叙事主人公"。叙事散曲和杂剧曲词都需要作者在一个故事情境中、以叙事主人公的立场来拟编叙事性质的曲词,二者在叙事体制上并无本质的割裂,只是杂剧曲词被纳入到脚色扮演体制中来使用了。叙事散曲、杂剧曲词的这种文本属性和编写情况提示我们,金元杂剧的早期剧本,当是与组套体叙事散曲相类的文本形态,它承自宋代就已出现的书面编写的"杂剧词"。

The setting of the recitative protagonist is the core of Sanqu＇s narrative in the Jin and Yuan Dynasties, who is a first- person narrator undertaking responsibility for chanting the progression of story with his vision and position. Similarly, the leading singer（Zhengmo or Zhengdan） of Zaju is also a first-person protagonist who undertakes responsibility for chanting the whole librettos of a play-text, so he should be a recitative protagonist of librettos of Zaju. With a comparison of the librettos of Zaju＇s text attribute and the play-text forms with those of narrative Sanqu, we find that the play-texts of early Zaju have the same text form as the joint-structure narrative Sanqu, which is an inheritance from the written Zajuci that appeared in the Song Dynasty.