王季烈《孤本元明雜劇》校勘斟議－兼議戲曲文獻的校勘整理

中國戲曲文獻的整理，從戲曲劇本被刊印之時就已經開始了。這種演劇文本元明兩代經過不斷刻印，其體式也經歷著變化，到晚明已經逐漸轉化為閱讀文本。但也正是在這種向閱讀文本轉化的過程中，文本經受了出版人的修訂校改，其中以臧氏《元曲選》為甚。進入二十世紀以來，從清末民初暖紅室刻本到吳梅《奢摩他室曲叢》，學者以現代學術觀念整理戲曲文獻，亦多存提升其文學性與閱讀價值之念頭，或導致改訂逾度。王季烈於一九三九年，受張元濟委託整理《孤本元明雜劇》一百四十四種，一九四一年由商務印書館出版，這代表了當時戲曲文獻整理的最高水準，嘉惠後學甚多，亦令人心存感激。但以今日古籍整理的範式與要求作審察，則其中也存在不少問題。今取其中若干劇本為例，收羅其中存在的問題，大略分作十一類，以作討論。這表明戲曲文獻整理相關的理念與範式，有一個漸進的變化過程，我們希望通過對王季烈校勘本的斟議，來認識戲曲文獻校勘方式所存在的變遷，並對今後的俗文學文獻整理提供參考。

關鍵字

王季烈；《孤本元明雜劇》；戲曲文獻；戲曲劇本；古籍校勘

並列摘要

The collation of Chinese theatrical documents already began from the time when theatrical scripts were published. These types of performance texts in the Yuan and Ming dynasties were continuously printed, and their format also underwent transformation, until in the late Ming, they had already gradually turned into readers presenting the texts as literature. However, it was just through this type of process of transformation into texts to be read that the possibility of the publisher's editing and revision was opened. Among these, Mr. Zang's Selection of Yuan Plays was the most extreme example. Once the 20^(th) century began, at the end of the Qing and beginning of the Republican era, from the theatrical documents printed by Nuanhong shi to Wu Mei's Samatha Room Anthology of Plays, scholars using modern concepts organized theatrical documents; also, they largely harbored the idea of enhancing their literary qualities and their reading value, or of bringing about a transition involving revisions. In 1939, Wang Jilie was entrusted by Zhang Yuanji with organizing 144 kinds of texts in the Sole Copies of Yuan and Ming Zaju. It was printed in 1941 by Shangwu Yinshuguan publishers. This represented the highest level of collating theatrical texts at that time. It was of great value for later scholars and also attracted people's gratitude. However, if we investigate it with present-day templates and requirements for collation of ancient archives, there are many problems with it. This article selects several stage scripts as examples and finds that there are problems remaining with them that can be classified into around eleven types, to support a discussion. This indicates that concepts and paradigms concerning the collation of theatrical documents show a process of gradual advancement. We hope that through a discussion of Wang Jilie's collated volume, we can recognize shifts that took place in the method of collation of theatrical documents, and provide a source of reference for the collation of vernacular literary documents henceforth.