清張大復《寒山堂曲譜》考辨

本文針對近年來學界認為清初蘇州劇作家張大復《寒山堂曲譜》之板本定論提出新的辨證，結論是：張大復編譜歷經了初稿、增補、刪修而後定稿的三大階段，陸續受到沈璟、沈自晉新舊譜、馮夢龍以及鈕少雅等人的影響，以至於思想理論以及編譜態度由尚新轉為崇古、由取犯調而捨犯調、由無過曲而採過曲、由輯新調而求元詞，這一路下來的思想脈絡與編譜態度，為《寒山堂曲譜》有著眾多繁雜面貌及其先後問題，提出了最合理的解釋，即：五卷殘本《寒山堂新定九宮十三攝南曲譜》實為張譜的最後修訂本。該譜保留了不少早期南戲劇目以及殘文佚曲，有著珍貴的文獻價值，同時代表著明末到清初編纂曲譜者審美取向的轉換，而這樣的轉換，也意味著崑山腔本身發展演變的痕跡，是為該譜在戲曲史上所提供的研究意義與價值。

關鍵字

蘇州劇作家；張大復；寒山堂曲譜；犯調；過曲；南戲

並列摘要

This paper fakes a new look at the prevailing view among scholars concerning editions of the work Hanshantang Qupu(寒山堂曲譜) by the late Ming/early Qing Suzhou playwright Zhang Dafu (張大復). We conclude that this work went through two different stages an initial version, and an enlarged version before a final edited version was completed. During this time, Zhang was influenced by the traditional and new compilation styles for Chinese musical notation (譜) of Shen Jing (沈璟) and Shen Zijin (沈自晉) as well as by other others such as the author Feng Menglong (馮夢龍) and musician Niu Shaoya(鈕少雅). In the process, his theoretical outlook and attitude towards compiling musical notation underwent a number of changes: he went from placing an emphasis on new techniques to an appreciation for traditional methods; from including fandiao (犯調) to excluding them; from excluding guoqu (過曲) to including them, and from collecting new styles (diao調) to seeking out qu (曲) from the Sung. Yuan dynasty. By tracing these changes in Zhang's thought and attitude towards compiling traditional musical notation, we can offer a very reasonable explanation for the wide range of variations in the Hanshantang Qupu itself and questions raised by different versions of the work. This work is extremely valuable as a text in that it preserves the names of a number of early Southern operas (南戲) as well as parts of operas that have since been lost. At the same time, it represents a shift during the transition from the late Ming to the early Qing in the aesthetic taste of compilers of musical notation. This shift, in turn, shows traces of changes and developments in kunqu (崑曲) operas, making this work quite valuable in terms of further research in the history of Chinese opera.