《牡丹亭》三妇评本的接受史研究--以臧懋循评本、《长生殿》吴人本为例

Acceptance History of The Commentaries of Three Female Critics on Peony Pavilion--Take Commentary of Zang Maoxun and Wu Shufu as Examples

《吴吴山三妇合评牡丹亭》是清代首部《牡丹亭》点评本,也是中国历史上首部女性戏曲点评本,它对《牡丹亭》的结构批评细致繁富,具有一定的开拓性。吴氏三妇对《牡丹亭》版本的筛选与处理体现了她们较高的文学素养以及雅驯化《牡丹亭》的批评态度。三妇还对臧懋循的结构批评进行了反思与继承,反映了曲家与文人的结构批评存在场上和案头两种方向,适用于场上表演的传奇结构单一明快,而案头文本的结构批评更注重关目之间的深层联系。此外,三妇评本与吴人的《长生殿》评点存在交互关系,吴氏提出《长生殿》“钗盒为经,盟言为纬”的结构总论合辙于三妇提出的《牡丹亭》诗谶、画谶、春容三位一体的中心结构论。三妇本对前代批评的反思与对同代批评理论的接受使其成为《牡丹亭》批评史中承上启下的重要一环。

Three Women’s Comments on The Peony Pavilion is the first female comment in Chinese history, which has a certain pioneering spirit in the structural criticism of Peony Pavilion. The selection of the version of Peony Pavilion reflects high literary accomplishment of female critics and their critical attitude of domesticating The Peony Pavilion. Their reflection and inheritance of Zang maoxun’s structural criticism reflect that the structure criticism of dramatists and literati exists performance and literature. The structure criticism for performance is simple and lively, while the structural criticism of literature pays more attention to the deep relationship between the chapters. In addition, there is an interactive relationship between three female critics’ version and Wu Shufu’s comments on Longevity Hall. Wu’s general structural theory of "Chai and box as Scripture and alliance words as latitude" maybe effects the central structure theory of "poetry prophecy-painting prophecy-portrait" in the Peony Pavilion. Three ladies’ reflection on the criticism of the previous generation and acceptance of the criticism theory of the same generation made it an important link in the history of criticism of The Peony Pavilion.