歷史、戲劇、政治的三重奏：《周公攝政》與鄭光祖的雙重心境

本文從元雜劇中的「歷史劇」談起，討論此一界定方式無法如實呈現元雜劇與「歷史／故事」的關係，因此主張以較為寬泛的「歷史故事劇」稱之，才能明瞭元雜劇中處處充斥的謬悠與隨心。在大部分戲不遵史實的情況下，《周公攝政》卻是當中的異數，以「不偏離正史」為主軸，不像一般「歷史故事劇」的謬悠、隨心或批判，反而帶有正面評價、宣傳教化的政治意義。本文將探討其「徵引史料」的書寫策略，深入其編寫及展演所可能具有的「政治」意味，反芻「歷史劇」與「當朝史」的映照解讀，重新理解作家創作時的幽微心志。鄭光祖一手寫「思漢隱喻」之戲，一手寫投合上好的應制戲，「雙重心志」的立場看似矛盾－雜劇既是其抒發心底聲音的自由文體，同時也是其懷抱功名之夢與晉身之階的唯一管道。然而，表面上的矛盾，骨子裡卻是合一的：在作品中，都映射出對於經典價值、政治典範與文化聖賢的認同，亦即「以儒治國」的思念與盼望。

關鍵字

元雜劇；周公攝政；歷史劇；尚書；鄭光祖

並列摘要

The subject matter of this paper is about Zheng Guangzu's Zhougong She Zheng (Zhougong as a Regent), but it will firstly discuss about the genre of ”Yuan historical play.” The definition of ”historical play” made by contemporary scholars is not sufficient to include the distortion of the history existed in most Yuan plays, and that's why this paper inclines to extend this genre, giving it a wide-open name instead, ”the historical-story play”, which could contain the differences and distances between ”historical records” and ”historical plays”. Then, among Yuan historical-story plays, Zhougong She Zheng is an extraordinary case, because its plot and story follow ”Shang Shu (The Book of History)”, one of ”The Five Classics”. This paper will analyze Zheng's writing strategies showed in political propaganda, historical parallels, and literary metaphors. On the one hand, Zheng had written some plays involved of the thoughts of anti-Mongol's rule; on the other hand, Zheng wrote this play as the adoration to Mongol empire for pursuing his own prosperity. The double-minded purpose seemed to be contradictory, but it was correspondent in his deep mind. From the comparison between this play and mid-Yuan politics, we found Zheng's terminal purpose was always the same: the respect of Han culture and the identity of Confucian ideals.