谫论李卓吾戏曲评点之尚“真”倾向及其理论渊源

On Truth of LI Zhuo-wu's Drama Commentaries and Their Theoretical Origins

李卓吾的戏曲评点透露着尚“真”倾向,其“真”可分为逻辑之真、情感之真和传神之真。逻辑之真是剧中的人物形象及事件描述符合现实的逻辑;情感之真是剧作者赋予剧中人物以情感上的真实,以及评点者结合自身的生活经验来评判剧中人物是“真实”还是“虚伪”;传神之真是从逻辑上的“真”以及情感上与“善”相提并论的“真”上升到美学上的“真”,以达到自然、传神的境界。“真”可追溯至先秦依托于老子的“道”中,至魏晋有了美的内涵,至明代戏曲评点之“真”则是评点者的戏曲理论在戏曲作品中的投射,李卓吾的“童心”说、“化工”说蕴含着真的内涵。李卓吾戏曲评点之尚“真”倾向对后世产生深远影响,“真”成为戏曲美的一种标准。

Li Zhuo-wu's drama Commentary reveals the tendency of seeking“truth”,which can be divided into logical truth,emotional truth and expressive truth.The logical truth is that the characters and events in the play are in line with the realistic logic;The emotional truth means that not only the writer endows the characters with True feelings,but also the commentator judges the characters with his own life experience to be“real”or“false”;And the expressive truth is elevated from the“truth”of logic and the“truth”of philosophical concept which is comparable with“virtue”to beauty for achieving the realm of nature and God.“Truth”can be traced back to the pre-Qin period relying on Laozi's“Tao”,and in the Wei and Jin dynasties it had the connotation of beauty.To the Ming Dynasty,the“truth”of drama commentary was the projection of the critics'opera theory in the opera works.Li Zhuo-wu's theory of Huagong and Tongxin contain the connotation of“truth”.Meanwhile,The“true”tendency of Li Zhuo-wu's drama commentary has a profound influence on later generations,and“truth”has become a standard of drama beauty.