無佛處稱尊：從葉小紈《鴛鴦夢》看閨秀才女的家族使命、信仰書寫與戲曲創作

葉小紈《鴛鴦夢》在女性劇作史上有其重要意義及獨特內涵，歷來研究已從構思來源、人物原型及女性意識等方面進行考察，但仍存在一些懸而未決的問題，如《鴛鴦夢》是沈、葉家族第一本，也是唯一一本女性劇作，葉小紈何以動念寫作雜劇？且在姊妹亡逝四年後，寫劇以代輓詩，悼念親人，成為《午夢堂集》唯一收錄的戲曲作品？劇作明顯受當時葉家招魂之事影響，但選擇元人度脫劇為架構，其寓意為何？本文從「女性曲史爭勝」及「家族信仰」的觀點，重新考證《鴛鴦夢》的寫作動機、出版契機、情節架構及文本象徵意涵。提出《鴛鴦夢》的寫作動機與出版情形反映了沈、葉家族爭取女性曲史獨尊地位的文壇現象；而此劇採用度脫劇的書寫架構，寫姊妹被度成仙之事，不僅傳達葉小紈對此事的信念，表現虔誠的家族信仰，也迴避了時人的猜疑與批評；又因葉小紈的女性視角與情感觀點，轉繹傳統文人度脫劇象徵符碼，賦予女仙集團、西王母及夢境等新的意涵，產生新的度脫文學樣貌。

關鍵字

葉小紈；鴛鴦夢；女性劇作家；午夢堂集；度脫劇

並列摘要

Ye Xiaowan's(葉小紈) Yuan Yang Meng (鴛鴦夢) plays a significant role in the history of dramas by women. Its plot idea, character archetypes, and feminist consciousness have been explored in previous studies. However, some issues remain; for example, why did Ye Xiaowan write Yuan Yang Meng, the Shen and Ye families( first and only drama by a female playwright, four years after the passing of her sisters? Ye wrote this drama, instead of an elegy, to express her lament for her sisters, and it became the only drama in her family(s collected writings Wu Meng Tang Ji(午夢堂集). What did Ye wish to express by creating this drama in the form of Dutuoju(度脫劇) of the Yuan dynasty? What style did she present? From the perspective of the literati in the late Ming dynasty towards dramas by women, this study re-examines the writing motivation, publication support, plot structure, and text meanings of Yuan Yang Meng. It is found that the writing motivation and publication support indicated the Shen and Ye families( efforts to elevate the status of female playwrights in the history of dramas. The form of Dutuoju and the deliverance and immortalization of Ye(s sisters not only pointed out Ye's belief but also avoided doubts and criticism of her contemporaries. Ye's female point of view and sentiments have produced new meanings through a reinterpretation of traditional Dutuoju's symbols and cultural codes.