敘事表現、心靈書寫與情理之辯：孟稱舜《嬌紅記》的寫作承襲及其對戲曲愛情劇的開創

孟稱舜《嬌紅記》堪稱繼《西廂記》、《牡丹亭》之後，戲曲愛情劇的新里程碑。孟作承襲了元代宋梅洞同名小說以「工筆重彩」細膩刻劃發生在「庭院式」侷限空間細瑣事件的手法，建立真實感；並轉化小說「穿插詩詞」的寫作格套，以戲曲曲文充分抒發人物情感，因而能夠開創戲曲愛情劇別開生面的敘事風貌。孟作對原著人物的調整，關鍵性的重塑並提升了人物的思想和形象，使之能與孟氏提出的「情」觀相呼應。從小說進入文人傳奇戲曲「敘事程式」的規範，孟稱舜重新取捨、安置情節，在《西廂記》寫「情」、《牡丹亭》兼顧「情」與「慾」之上，寫進了人物的「心靈」。同時，透過辯證，訴說「情」與「理」的調和與包容，對愛情的完成提出一己的詮釋。

關鍵字

孟稱舜；嬌紅記；情理之辯；心靈；敘事

並列摘要

Jiaohong ji by Meng Chengshun has been hailed as a new milestone of Romance Drama, succeeding The West Chamber and Peony Pavillion. Adopting techniques from Song Meidong of the Yuan dynasty, who authored a fiction of the same title, Meng Chengshun's drama depicts rich, minute details of miscellany occurring in the limited indoor space to build up a sense of actuality. He also converts the fiction convention of interpolating verses into arias sung in a drama to fully demonstrate the character's sentiments. In this innovation, he opens up new narrative possibilities for romance drama. Meng's reworking of characters from the original fiction significantly revises their images and enhances the characters' thinking, so as to correspond to the concept of ＂qing＂ raised by Meng himself. To adjust to the narrative convention of literati's chuanqi drama, Meng Chengshun preselects and shuffles the plotline of the original fiction. Beyond the West Chamber's emphasis on qing, and the Peony Pavilion's attention on both qing and desire, Meng Chengshun deliberates on the characters' inner self. Through dialectics of the reconciliation and compliance of love and rationality, Meng Chengshun gives his own interpretation of the fulfilment of love.