清车王府藏曲本中的水浒戏研究

Research on Water Margin Plays in the Qu Collection of the Prince Che’s Mansion in Qing Dynasty

清代车王府收藏的曲本中,水浒故事主要分布于乱弹、昆曲、高腔及子弟书四部分,其中又以子弟书居多。它们多数属于经典的水浒故事,在内容、主旨、文化内涵等方面继承了水浒故事的核心要素,又具有清代独有的文化阐释与追求;情节的架构与细节刻画等层面,体现了戏曲及曲艺的特质;语言层面,既有韵文的典雅,又有大量的口语句式与用语,其中还有很多清代的新词新语。以上诸种创新,都使清车王府藏曲本中的水浒戏具有了独特的魅力。

In the Qu(traditional Chinese operatic tunes)collection preserved in the Prince Che’s Mansion of the Qing Dynasty,Water Margin stories are mainly distributed in four sections:Luandan(impromptu ballad singing),Kunqu(Kun opera),Gaoqiang(northern Chinese operatic tunes),and Zidishu(collected works for children).Among them,Zidishu accounts for the majority.Most of these works belong to classic Water Margin stories,inheriting the core elements of Water Margin tales in terms of content,theme,and cultural connotations,while also possessing unique cultural interpretations and pursuits of the Qing Dynasty.In terms of plot structure and detailed portrayal,they reflect the characteristics of traditional Chinese opera and musical arts.Linguistically,they exhibit both elegant rhymed language and a plethora of colloquial expressions and terms,including many neologisms from the Qing Dynasty.These innovations endow the Water Margin plays in the Qu collection of the Prince Che’s Mansion in Qing Dynasty with unique charm.