民间意识形态的悲剧形塑:以《万民安》为中心

The Tragic Shaping of the Folk Ideology: the Research Based on Wan Min An

明末清初苏州剧作家李玉的《清忠谱》以对帝制意识形态的悲剧性解构为学人所重,事实上,其“姊妹篇”《万民安》对民间意识形态的悲剧形塑,更值得重视。从近人董康《曲海总目提要》所存剧情可见,《万民安》视市民聚义为伟大史事并加以集中表现,旗帜鲜明地阐发市民阶层利益的合理性;剧作者为葛成这样的小人物极言英雄节义,以表达底层社会之诉求。要之,《万民安》专为一事(市民聚义)一人(市民领袖)而设,其主旨在于倡言万民之义,而非替皇朝官宦辑录清忠义谱,由此形塑了典型的民间意识形态。对《万民安》形塑民间意识形态的方式加以考察,有助于理解中国戏剧与意识形态之间的复杂关系,也为《万民安》剧作者及其剧作文学史地位的确认提供了一种思路与视角。

Qing Zhong Pu written by Suzhou script writer Li Yu in late Ming and early Qing Dynasties is highly recognized by researchers for its tragic deconstruction of monarchy ideology. In fact, its companion piece Wan Min An which shaped folk ideology with tragedyaesthetics effects deserves more attention. Looking into the remaining introduction recorded by Dong Kang in QuHaiZong Mu Ti Yao, Wan Min Anfocus on the uprising of the city residents as a great historical event to elaboratereasonability of citizen’s interest. Moreover, the writer emphasizes the virtue of oppressed nobody like Ge Cheng, in order to claim the mass demand in underclass. In a word, the piece shows a classical unity that the whole story focuses on one character(leader of the citizen) and one event(the uprising) to highlight the theme of the people’s righteousness, rather than listing the heroes for ruling class, therefore it constructs the typical folk ideology. Through the social transformation in early modern period, to explore the method Wan Min An has applied to shape the folk ideology, is helping to understand the complex relationship between Chinese opera and its ideology structure. It also offers a new perspective to illuminate the significance of the writer and the piece itself.