袁枚、俞樾的戏曲观及原因、意义探赜

The Drama Theory of Yuan Mu and Yu Yue: Its Causes and Significance

作为两位时代性大家,同为浙籍的俞樾生前已有将之与袁枚相比的说法。俞樾最为认可的是袁枚倡导的诗歌性灵理论,其性情、行迹乃至人生选择等也都或多或少带有袁枚影响的影迹。就戏曲而言,袁枚与俞樾都是在晚年进入戏曲活动的活跃期。袁枚诗主性灵,所评点的戏曲作品也多为性灵之作,认为戏曲创作应以情为圭臬,表达主体的内在情愫。俞樾亦强调"感人"是戏曲功能实现的关键,然更为重视的还是戏曲化民成俗的教化功能。袁枚和俞樾的戏曲活动皆发生在与人交往的过程中,鲜明表现出诗歌之于戏曲的侵蚀,从另一个维度揭示了传统戏曲受制于诗学的必然性。

As two great intellectuals of their times, both Yuan Mu and Yu Yue were from Zhejiang, and Yu Yue had been compared with Yuan Mu even when Yuan Mu was still alive. What Yu Yue most willingly accepted was the"Xingling theory"of poetry advocated by Yuan Mu. Yu Yue’s dispositions and life tracks as well as his life choices were all somewhat influenced by Yuan Mu. With regard to dramas, both Yuan Mu and Yu Yue entered their active periods of drama activities in their later years. Yuan Mu’s poems were written according to his theory of"Xingling", and the dramas he had reviewed were also of this kind. He argued that the composition of dramas should take emotions as a criterion and express the inner emotions of the subjects. Yu Yue also emphasized that the key function of dramas should be emotional,however, he paid more attention to the educational role of dramas. Both Yuan Mu’s and Yu Yue’s activities related to dramas occurred in their social interactions and their ideas about poetry had influenced their understanding on dramas.To put it another way, the configuration of traditional dramas was also constrained by the poetry composition of that time.