感愤时事,托古慰志:茅维杂剧新资料的发现与内容探究

The Discovery of New Materials and Textual Research onMao Wei’s Poetic Drama

茅维杂剧多感愤时事而作,重在表达自己情感志向,是明中后期杂剧创作转向“写心”的典型代表,对探究明末清初社会现实与士人心态极具价值。笔者最近发现3种有关其杂剧创作的新资料,即《凌霞阁新著总引》《已矣乎戊寅秋孟跋〈没奈何〉〈贺声钟〉诸剧》《凌霞阁内外编词评引》,使其杂剧创作数量由原来的8种增加到21种,且探究出10种新发现剧作的基本内容。这一方面使茅维杂剧创作数量跃居明代戏曲家前列,并进一步彰显了其杂剧托古慰志、自抒其境的“写心”特点;另一方面也有助于我们理解茅维剧作偏重才情的整体风格,从而也就更能理解其自比汤显祖的自信。茅维在古代戏剧史上的地位值得进一步关注和提高。

Mao Wei,a representative of litterateurs who marked the trend of“writing from the heart”in the mid and late Ming dynasty,wrote most of his poetic drama to express his aspirations in the milieu of his time.His works are extremely valuable in studying the social reality and mentalities of the scholars in the late Ming and early Qing dynasties.Recently,three new materials about the creation of his poetic drama have been discovered by the author.The first is“Lingxiage Xinzhu Zongyin”in Mao Jiexi Ji,which can serve as the evidence that Lingxiage Neiwaibian is the general collection of Mao’s poetic drama,which contains 15 plays,all completed by the summer of 1637 when he lived in seclusion in Jiexi. The second is “Yi Yi Hu: The Drama Postscript of ‘Mei Naihe’ and ‘He Sheng Zhong’ written inthe seventh year of Wuyin” collected in Mao Jiexi Ji, which demonstrates that Mao composed “MeiNaihe” and “He Sheng Zhong”. The third is “Lingxiage Neiwaibian Ciping Yin” in Guo Jun’s Shunzhiedition of Hongyingtang Ji collected by Japanese Cabinet Library. An overview of his 15 plays canhereby be ascertained: four extant poetic dramas “Zui Xinfeng” , “Qin Tingzhu”, “Jinmen Ji” and“Suyuan Weng” are included in Lingxiage Neiwaibian;and the names of eight dramas can be identified,that is, “Piqiao Nalü”, “Zhuyun Zhelan”, “Huangjin Tai”, “Lulong Sai”, “San Dao”, “Shang Taohua”,“Guanghan Gong” and “Xunchun Meng”;the other three dramas respectively depict Chen Liang of theSouthern Song dynasty, Pei Kai and Wang Rong of the Jin dynasty, as well as Xian Gong. The authorfinds that “Mei Naihe” and “He Sheng Zhong”, and two other dramas which were discovered by theauthor (“Chunming Zuzhang” and “Yunhe Xunmeng”), and the academically well-known “ShuangHehuan” and “Nao Menshen”, all have not been collected into Lingxiage Neiwaibian. The discovery ofthese three new materials is of great importance for the study of Mao Wei ’ s poetic drama. Firstly, thetotal number of his poetic drama has increased significantly from 8 to 21, coming out in front among theMing dynasty dramatists. Secondly, questions have been clarified concerning the name of Mao Wei’spoetic drama collection, the writing time of his Lingxiage Neiwaibian and the number of poetic dramasincluded, and whether he created any other poetic dramas. Thirdly, the contents of his 10 new poeticdramas have been explored, including “Piqiao Nalü”, “Zhuyun Zhelan”, “Huangjin Tai”, “Lulong Sai”,“San Dao”, “Shang Taohua”, “Mei Naihe”, “He Sheng Zhong” and the dramas depicting Chen Liang ofthe Southern Song dynasty, Pei Kai and Wang Rong of the Jin dynasty. Finally and most importantly, theideological content of these dramas and the creative intention revealed by the three new materials havedisplayed the characteristics of his drama, i.e., to express his emotions and aspirations through ancientsettings and by writing from his heart. It also helps us to better understand his overall style of emotionalcreativity and his confidence in comparing himself to Tang Xianzu. Mao Wei’s position inthe history of the Ming dynasty poetic drama deserves our further attention and research.