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清初朱佐朝《御雪豹》傳奇中的「文武」觀念及其政治意涵
The Civil-Martial Relations in The Royal White Panther and its Political Implication
摘要
中國古代政治裏，文武的高低、分合，時有變化。明代為實施中央集權，重文輕武，訂下文臣、武將互相制衡的制度，造成兩者的磨擦。至明清之際，經歷世變，時人開始作出反思。文人士大夫大多提出以文人統兵，兼領軍事。然而，清初劇作家朱佐朝卻擁有迥然不同的觀點。朱佐朝是蘇州派的重要成員，創作傳奇三十五種，傳世全本及殘本二十種，代表作為《艷雲亭》、《漁家樂》，現今崑劇舞台仍有折子戲演出。他完成於清初的《御雪豹》傳奇以宋代元戎和宰相對立為觸發點，呈現了文武不和對軍事、民政兩方面的影響。本劇講述書生薛岳一家為奸相薛贊及計方來所害，元帥湯惠從中救助，其間穿插抗金的情節，最後團圓。通過盜官銀的冤案、鬼神拯救的情節，作者表達了對武將兼理民事的認同，並對修習文章以求顯達的觀念作出質疑，展現出「重武輕文」的心態，甚至鼓勵士人「棄文就武」。另外，《論語》提到「富而可求也，雖執鞭之士，吾亦為之。」劇中通鞭子砌末的運用，與此對話，反駁傳統儒家有關文士「固守其窮」的教訓。根據劇中表演性關目「演陣」的加插，以及作者其他劇作的政治傾向，本文認為劇中對文武的特殊看法除了體現着作家的民間性外，很有可能與「抗清」的意圖有關。
並列摘要
History has witnessed ever-changing civil-martial relations in China's political landscape, and in the Ming Dynasty, conflicts between civil and martial officials were heightened due to the adoption of a system of checks and balances among them to strengthen central state power. At the time between the Ming and Qing Dynasties, most literati believed that in order to promote peace and stability, the army should be controlled and led by the literati. In contrast, a 17^(th) century popular Suzhou playwright, Zhu Zuochao, held a different opinion. In the Royal White Panther, a play he wrote in early Qing Dynasty, he questioned the traditional Chinese belief of placing more emphasis on the study of liberal arts to gain power and prosperity, and further demonstrated that civil affairs could be managed just as competently by a marshal. The play demonstrated Zhu's preference for "wu" (the martial) over "wen" (the civil). The Analects stated" if the search for riches is sure to be successful, though I should become a groom with whip in hand to get them, I will do so." By the use of a whip prop in the production, the play addressed the saying in The Analects to refute the traditional Confucius thought that "the superior men have to endure want." Based on the practice combat scene in the play and the political leanings the playwright displayed in his other works, this paper takes the view that in addition to appealing to the common people, the playwright's special take on "wu" and "wen" as shown in the Royal White Panther may likely reflect his anti-Qing sentiment.