《九宫大成》之“词乐”刍议

乾隆初年编成的《九宫大成》历来被视为曲学之渊薮,其中也保存了许多值得注意的词乐资料,其价值或远胜于宋姜夔自度曲"旁谱"。从《九宫大成》对所收175首词作的订谱来看,其订谱原则与昆曲(南北曲)并无本质差异。《九宫大成》所存"词乐"是否为前代之遗存,其中有多少为两宋之旧,今人自可存疑。但如果说词唱、曲唱并无本质差异,南宋末的词唱水准可能与晚明的曲唱水准相当,《九宫大成》即使是按照南北曲的歌唱原则对词作进行订谱,也无可厚非,对今人而言,则是一笔极珍贵的文化遗产。

黄河流域曲家与明清时期的南曲北渐

During the three dynasties of Yuan, Ming, and Qing, the northern Zaju had much influence from the southern tunes,which is popular at the southern part of China. This article is a tentative study of this kind of influence and also the Combination of these two kinds of operas at that time. It holds the view that , on the one hand, the playuniters in the HuangHe River Valley had inherited much from the Southern tunes, and on the other hand, they had kept their own characteristics. In one word, they had much Coutribution to the development of the operas in the HuangHe River Valley.

与莎士比亚“诗剧”相对应的中译文——莎士比亚剧本英译汉探讨

莎士比亚时代英国伦敦剧院上演的剧本多用无韵体诗形式。无韵体诗突破传统格律诗束缚 ,自由度大些 ,易抒发情感 ,语言也显自然些。轻重音节的有规律的交替是构成英语韵律的突出因素。中国约有 3 60种戏曲。秦腔、川剧、越剧、粤剧、豫剧和黄梅戏等拥有众多民众 ,但京剧影响最大 ,普及全中国。它们风格各异 ,但唱词上有共性 ;均为戏曲“诗”体。由此 ,与莎士比亚“诗剧”相对应的中译文 ,应用道地中文 ,吸取中国历史悠久的戏曲 (诗 )体长处 ,仿戏曲体 ,运用现代汉语 ,译成略具古典风味 ,耐看、上口、耐唱 (耐诵 )、耐欣赏。