《六十種曲》臺本或墨本屬性考辨－以《荊釵記》、《香囊記》為例

＂The Sixty Legends＂ Is the Script or Perusable Edition?

洪逸柔(Yi-Jo Hung)

《中國學術年刊》 37_2期 (2015/09) Pp. 115-150

https://doi.org/10.6238/SIS.201506.04

摘要

明代毛晉匯編的傳奇選集《六十種曲》，歷來多視之為場上演出之臺本。筆者重新檢視其觀點，探討諸家說法是否成立，並試著從《六十種曲》的編選理念與劇本體製出發，以釐清此套傳奇總集的屬性問題。從汲古閣的出版傾向與《六十種曲》的選劇、弁語來看，毛晉編刻《六十種曲》最初是為教化人心，彰顯儒家綱常，其後續出《繡刻演劇》亦是從文學價值上著眼，但也兼及場上流行劇目；而毛晉交遊對象也多是文人、學者而非戲班、演員，可知其刊刻劇作的主要來源當以文人墨本為主。從汲古閣本《荊釵記》、《香囊記》與文人評本、崑劇臺本的比對則可看出，汲古閣本在體製齣目、情節關目與曲白科介等方面都較接近文學本，但部分齣目或曲牌結構亦能為戲場接受。由此觀之，《六十種曲》或許更貼近寄託了文人編選意識的墨本，首要考量劇作的閱讀與文學價值，但亦兼及其場上演出的可行性。

關鍵字

六十種曲 ； 毛晉 ； 汲古閣 ； 臺本 ； 墨本 ； 香囊記 ； 荊釵記 ； 折子戲

並列摘要

＂The sixty legends＂ collected by Mao J in was often though as script. Author has review those statement were partial to the legend, not the whole. This thesis provides a view point from the collect-concept and type of legend to judge those statements true or not, also clarify the attribute of ＂The sixty legends＂. According to the publish concept of Mao Jin and Ji-Gu-GE, they focus on a full version of legend and proclaimed Confucianism Culture. Since most people who has relationship with Mao Jin was poem and scholar not actors, also we can perceived the collection-concept from six prefaces. Author perceive the difference between Ji-Gu-GE, scripts and other perusable edit ions in ＂Siang-Nang-Ji＂, find that Ji-Gu-GE is more similar to scripts from catalog, contents and lines. According those reasons, ＂The sixty legends＂ is more close to script not perusable edition.

並列關鍵字

＂The sixty legends＂ ； Mao Jin ； script ； perusable edition ； ＂Siang-Nang-Ji＂

參考文獻

鄭振鐸編(1986)。古本戲曲叢刊。上海=Shanghai:上海古籍出版社=Shanghai Ancient Books Publishing House。

明王驥德(1983)。曲律。長沙=Changsha:湖南人民出版社=Hunan People's Publisher。

明毛晉(1989)。隱湖題跋。臺北=Taipei:新文豐出版社=Sin Wen Feng Publishing Co。

明毛晉(2005)。汲古閣書跋。上海=Shanghai:上海古籍出版社=Shanghai Ancient Books Press。

明毛晉編(2007)。六十種曲。北京=Beijing:中華書局=Chung Hwa Book Co。