論《曇花記》的評改與折子選輯

A Discussion on the Commentaries and Selected Zezi Plays of The Story of Udumbara

侯淑娟(Hou, Shu-Chuan)

《淡江中文學報》 42期 (2020/06) Pp. 83-117

https://doi.org/10.6187/tkujcl.202006_(42).0003

摘要

明代屠隆（1543－1605）《曇花記》寫唐代定興王入道修行的故事。在《曇花記》各版本中，臧懋循（1550－1620）《曇花記》評改本最特殊。臧氏以吳中崑曲觀點、傳奇特性，刪削思想性佛道說理，以情詞穩稱、關目緊湊、音律諧叶之「當行」標準，將《曇花記》55齣刪併改整為31折。又在每一改動處加眉評，說明刪增原理。評改本主、次情節線清晰明朗，穿插有致，提高人物的整體性結構關連，更趨合吳中崑曲規範。本文除了探討臧懋循評點改本與屠隆原著的差異，更綜觀11種散齣選本、曲譜對《曇花記》的選輯，以折子戲具體流傳的樣貌，分析明清戲曲散齣選集、曲譜對屠氏《曇花記》與臧氏評改本的接受與改動。以選齣多又具小本戲特點的《萬壑清音》，分析其選輯特色，探討含北曲元素的折子套數，由原著、評改本到戲曲散齣選集中的變化。《萬壑清音》選輯《曇花記》齣目凸顯非傳奇主角性腳色的齣目，如外、末、淨，甚至是具丑腳可能性的無腳色配置人物主唱主演的折子，如〈木侯夜巡〉，本文從腳色行當的觀點，特別是丑角行當的運用，探討《曇花記》原著、評改本到戲曲散齣選集、《萬壑清音》配置的變化，分析《萬壑清音》之選輯提高明傳奇非主角性腳色行當精煉舞臺演技的意義。

關鍵字

屠隆 ； 《曇花記》 ； 折子戲 ； 《萬壑清音》 ； 戲曲選集

並列摘要

The Story of Udumbara (Tanhua ji, THJ hereafter), authored by Tu Long (1543-1605) in the Ming Dynasty, is a story about how the King of Dingxing of the Tang practiced Buddhism. Zang Maoxun's (1550-1620) edition on the commentaries of THJ is the most special one among all editions of THJ. Based on the views of kunqu in Wuzhong area and the characteristics of chuanqi, Zang decreased the Buddhist-style lecture and thus reorganized THJ into 31 plays from 55 plays in terms of the following standards of ＂danhang,＂ appropriate wording (qingci wencheng), tight plots (guanmu jinchou), and harmonious rhymes (yinyun xiexie). Moreover, he provided explanatory commentaries on every single change he made. By doing so, he clearly commentated and interlaced the main and the secondary threads of the story so that the integrated connection among all drama characters were highlighted, which would fit in with the rules of kunqu in Wuzhong area. In addition to exploring the differences between Zang's commentaries and the original text, this article reviews 11 anthologies of selected xiqu and the selected THJ from qupu. Furthermore, the anthologies of selected xiqu and qupu are analyzed following the methodology of how zezi plays was circulated so that the acceptance and revisions of Tu's THJ and Zang's commentated edition both are discussed as well. Based on Wanhuo qingyin which features xiaoben xi and includes most of plays from THJ, this article analyzes the characteristics of the selected xiqu, investigates the taoshu of zezi plays from the traditional Chinese northern drama, and observes the changes from the original text, commentated editions, to being included in the anthologies of xiqu. THJ in Wanhuo qingyin highlights the plays by non-tale hangdang, including wai, mo, and jing; even the unassigned roles, such as coujiao, are appointed to sing zezi plays as it is shown in Muhou's Patrol at Night (Muhou ye xun). Starting from the perspective of hangdang, particularly the choujiao, this article examines the changes from the original text of THJ, the commentated editions, to the arrangement in Wanhuo qingyin and later discusses the meanings of raising the status of non-tale roles in selected plays to independent zezi plays and of refining the stage performance.

並列關鍵字

Tu Long ； The Story of Udumbara ； Zezi Play ； Wanhuo Qingyin ； Anthology of Xiqu

參考文獻

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