南宋戲禁文獻辨析糾謬－以朱熹勸喻榜及陳淳「論淫祀淫戲」之上書對象為論述中心

本文就南宋福建戲曲熟見的朱熹、陳淳文獻，辨析朱子的歌樂演劇觀，糾正陳淳的上書對象，以此重繪宋代戲曲的開篇輪廓。首先，朱熹任漳的曉諭勸俗有「約束傀儡戲」和「懲處喪制觀樂」，然而並非全然的「禁戲非樂」，而是出於「養民」以經濟富足，「教民」知人倫禮教。其次，在戲曲史廣泛運用陳淳〈上趙寺丞論淫祀〉、〈上傅寺丞論淫戲〉二文之前，陳淳的理學官員同人需要先有清楚的定位，方能更準確的說明閩漳戲曲的時間與演進。本文從官員是否具備「寺丞」之官名切入，再借助慶元黨禁以來閩漳理學的消長，庶民陳淳如何在理學圈建立影響力，以此糾正戲曲學界判讀陳淳致書對象之謬誤，受文者應為趙汝讜（1211-1213知漳）、傅壅（1219-1221知漳），而非趙伯逷（1195-1197知漳）、傅伯成（1197-1199知漳），意即呈書的時間分別往後遞延了十四年、二十年以上。主張勒禁淫祀淫戲，顯示民間演劇的蓬勃興盛；陳淳公劄所紀錄的戲劇活動，正與溫州南戲從源生到流播的橫跨時間相重疊，可以歸納出：發展至嘉定年間的漳州戲曲，還不是發展成熟的大戲，而是小戲邁向大戲、多源並起的過渡階段。

關鍵字

朱熹；陳淳；趙汝讜；傅壅；傅伯成

並列摘要

This article analyzes documentary literature from Zhu Xi and Chen Chun, prevailing in the field of Fujian drama in the Southern Song dynasty, to identify Zhu Xi's perspective on drama performance and rectify identities of the recipients of Chen Chung's letter, restructuring the opening of drama in the Song dynasty. First of all, Zhu Xi's advice to people included a ＂Puppet Show Ban＂ and ＂Punishment for Enjoying Music during a Funeral＂. However, it was not entirely a ＂Drama and Music Ban＂ but was for cultivating the populace for economic prosperity and teaching the people about humanity and ritual propriety. Secondly, Chen Chun's ＂A Letter to Deputy Zhao Discussing Excessive Sacrifice＂ and ＂A Letter to Deputy Fu Discussing Excessive Drama＂ have been widely used in the history of traditional drama; but before doing so, we need to have a clear standpoint about these Neo-Confucian officials to whom Chen Chun sent letters, in order to explain the evolution of Zhangzhou drama performance. This article begins with questioning whether the officials had the official name of ＂Deputy＂, then rectifies the prevalent errors by studying the rise and fall of Zhangzhou Neo-Confucianism since the Qing Yuan Clique Ban, as well as the way Chen Chun, a commoner, was building his circle of influence in the area. The conclusion shows that the recipients of the letter should be Zhao Rudang (1211-1213 in Zhangzhou) and Fu Yong (1219-1221 in Zhangzhou), but not Zhao Boti (1195-1197 in Zhangzhou) and Fu Bocheng (1197-1199 in Zhangzhou), which means the delivery times of the letter respectively were 14 and 20 years later than ever known. Advocating the prohibition of excessive sacrifice and excessive drama shows the flourishing prosperity of folk dramas; the drama activities recorded by Chen Chun's official correspondence overlap the time span from the birth to the spread of Wenzhou nanxi. It is concluded that Zhangzhou drama, which developed to the Jiading period (1208-1224), was not yet a mature form, but rather was a transitional stage from casual skits to large-scale dramatizations, marked by the convergence of many different artistic elements.