论明代万历时期“雅俗并陈”的传奇曲辞观

A Study of the Combination of Elegance and Popularity in the Chuanqi Plays' Lyrics during the Reign of Emperor Wanli

"雅俗并陈"的传奇曲辞观在明代万历年间的戏曲理论、批评与创作实践中均有体现,具有理论与实践递相推进、相得益彰的特征。理论方面,屠隆发其端,王骥德集其成,汪廷讷、臧懋循等殿其后;创作方面,梅鼎祚《玉合记》启其先,汤显祖《牡丹亭》肇其极,《南柯》《邯郸》二记承其波。从明清传奇整体演进历程观之,这一曲辞观及其践行者打破了文词派一统曲坛的局面,开启了"雅俗相济"的曲辞审美理想,推进了传奇曲辞由雅俗分裂到雅俗融合的转化,为明末清初传奇的大繁荣推波助澜,具有独特的理论价值与转关性的戏曲史意义。

In drama theories,criticisms and creative practices during the reign of Emperor Wanli in the Ming dynasty,the combination of elegance and popularity in chuanqi plays＇ lyrics was prominent,which demonstrated the interactive characteristics of aesthetic theories and literary writings. In terms of theories,Tu Long made a first attempt,which was fulfilled by Wang Jide and inherited by Wang Tingne,Zang Maoxun,etc. In terms of creative practices,Mei Dingzuo＇s The Story of the Jade Box initiated this thought,and then Tang Xianzu＇s Peony Pavilion pushed it to its peak,followed by the other two plays The Story of Nanke and The Story of Handan. From the viewpoints of the whole evolutionary history of chuanqi in the Ming and Qing dynasties,it was this thought and its practitioners that changed the situation of the circle of chuanqi plays once led by the Wenci school,and thus that offered people a new aesthetic ideal of coexisting elegance and popularity. The trend from separation to combination led to the great prosperity of chuanqi in the late Ming and early Qing dynasties.