“骈俪语言”遮蔽下的曲学探索——明传奇“骈绮派”再反思

The Pianqi School’s Kunqu Studies in the Shadow of Its Ornate Language

对于"骈绮派"的历史地位和文学批评,学术界一直存有不同看法。相关讨论通常集中于对其骈俪语言的批评,这种情况实际上也反映了"骈绮派"历史语境的复杂性。在考察明初文学思想向明中后期文学思想变迁的过程中,可以窥见:士大夫阶层作为传奇的创作主体,存在贵族阶层和平民阶层之间身份与思想的游离状态。南戏在向传奇的演进中,"骈绮派"作家的交游构成一个"曲学研究团体",在语言和声腔上对南戏昆腔化起到了不可忽视的作用。因此,专注于"骈绮派"语言特色的品评,实际上掩盖了"骈绮派"作家在语言和声律上的双重探索,"骈绮派"的作用在于上承南戏声律规范加以革新,下启昆腔传奇"雅玩"格调,最终推动昆曲向本色当行发展。

Scholars divide on the critique of the Pianqi school of Ming chuanqi.Most criticize its ornate language,which reflects its complex historical context.While the literary philosophy transformed from early Ming to mid and late Ming,the Ming literati wandered off both the nobles and the commons.The Pianqi school was also a study group of Kunqu studies and made contributions to turning nanxi into Kunqu style.Critiques focus only on the language of the Pianqi school casts a shadow on its exploration on language,sound,and meter,which reformed nanxi and renovated Kunqu.