论颜鼎受《初阳山人渔鼓曲》的道情书写

On Yan Dingshou's Taoist Feelings Writing in The Yugu Song of Chu Yang Hermit

颜鼎受散曲别集《初阳山人渔鼓曲》一卷,有浙图藏《复庄今乐府选》本,新发现上图藏抄本与浙图本多有不同。上图抄本曲文首尾多出赠诗、小传及跋文,套曲中缀入诗词、小序和衍句,可追索《初阳山人渔鼓曲》早期刊本的面貌,更可全面考察颜鼎受散曲创作出于道情醒俗而归于谛视自得的个人情志,以及寓含其中的诗词曲联吟和文体融通意识。从这些内容增衍与文体互动,亦可窥见其组套言情之佳构与破体说理之谐趣在承接文人道情传统的同时显现出清初道情散曲持守与新变的意脉,以及其对清中后期道情散曲分化的影响。

A handwritten copy of The Yugu Song of Chu Yang Hermit,a volume of Yan Dingshou's Sanqu lyrics collections,was recently uncovered in a manuscript reserved in Shanghai Library,which differs greatly from its early copy encompassed in The Fuzhuang Jin Yuefu Anthology reserved in Zhejiang Library.With the previously undiscovered gift poems,biographies,and postscripts before and after handwritten copy,as well as poems,prefaces and random sentences in some suites of Sanqu lyrics,this new handwritten copy is significant to explore the details of the original edition of The Yugu Song of Chu Yang Hermit and to demonstrate a preposition that Yan Dingshou's creation is motivated by the Taoist feelings of awakening the laity and returning to listening to self-enlightenment.It also assists in identifying Yan Dingshou's writing theory of merging poems,Ci and Sanqu as a whole,and fusing distinct stylistic genres as well.Furthermore,the theme developments and genres fusion,as well as the salient characteristics of its well-organized structures for personal expression and its inferred rationale for breaking routines,all contribute to revealing that Yan Dingshou's creation is rooted in the tradition of the Taois feelings of Chinese Literati and the evolution of Sanqu in the early Qing Dynasty.Consequently,it has invaluable impacts on the subsequent developments of Sanqu in later Qing Dynasty periods.