從沈璟的懷舊意識，到晚明吳江派的集體記憶

提起明中葉的戲曲家，湯顯祖與沈璟是兩名非常重要的人物。沈璟改《牡丹亭》詞律為《同夢記》，締造晚明劇壇重要論戰「湯沈之爭」。主要是兩人的價值觀大相逕庭；沈璟原來在製曲中尋求療癒宦途失意的出口，卻遭逢傳奇創作的變更時期，在守舊與革新之間，他選擇懷念過去的美好，尊崇「宋元舊範」，甚而積極地編纂、增定《南九宮曲譜》，也是將承自何良俊的「本色」重新包裝，創造出更適合他心中的標準「傳統」；這一連串的復古行徑，是他尋求自我尊嚴的一種「懷舊」情感。唯湯顯祖亦崇古，認為「上古」之樂是應運時勢化而生，「聲律之道，在於天然而不造作」，對於沈璟強調的規範大大不以為然。可知兩人的懷舊方式，源自於截然不同的的體驗。也因此建構出「吳江派」與「臨川派」的論爭。沈璟是晚明吳江文人公認的「曲壇盟主」，他提出「恪守聲律」、「崇尚本色」、「提倡場上之曲」等曲學理論，成為了吳江文人相同文化背景上的共通點；吳江文人的集體，在一齊推動度曲理論之共同經驗中，「吳江派」也擁有了如沈璟一般，對崑曲曲律「中興之功，功不可沒」的集體記憶。

關鍵字

沈璟；吳江派；懷舊；復古；集體記憶

並列摘要

Regarding the middle era of the Ming Dynasty, the most important opera were Tang Xianzu and Shen Ching. Shen Ching changed the ＂Peony Pavilion＂ rhythm to Tung Meng Chi (the story of the same dream), which created an important debate in the opera forum late Ming theater world, which was called the ＂Tang-Shen dispute.＂ The perspectives of these two were completely different. Shen Ching wanted to find a way to cure his career failure in opera writing; however, at that time, it was a transitional era between conservative and innovative of Ming writing about legends. He chose to remember the beauty of the past and follow the ＂old Song Dynasty and Yuan Dynasty norms.＂ He even aggressively edited and re-writing the South Jiu Gong Tu scores.＂ This followed Ho Liang-chuing's original nature with innovations, in order to create a standard tradition to fit his own mind. These series of actions returning to the traditional was a way to find his own dignity and nostalgic feelings; however, Tang Xianzu also followed the classical style, since he thought traditional music was produced to follow the times. ＂The rule of the melody shoul dbe based on nature, not artificial.＂ Tang absolutely disagreed with Shen Ching’s theory; therefore, we know that the method of remembering the ancient times by these two people comes from very different experience. Therefore, the debate between the t a ＂Wujiang School＂ and ＂Linchuan School＂ began. Shen Ching was considered the ＂leader of the melody＂ by the scholars of the Wujiang School in the late Ming Dynasty. Shen Ching advocated the theory of music, as follows: ＂strictly follow the melody,＂＂promote nature,＂ and ＂advocate music on the stage.＂ His music theories became the common cultural background of the Wujiang scholars. Through their common experience, the Wujiang scholars worked together to promote this music theory. Therefore, promoting Kun opera melody is as much the achievement of ＂Wujiang scholars＂ as Shen Ching.