演史與詠史中的自我－論蔣士銓的三部婁妃劇

The Self in Historical Performance and Historical Reminiscence: Discussing Jiang Shiquan's Three Lou Fei Plays

華瑋(Hua Wei)

《中國文學學報》 1期 (2010/12) Pp. 173-199

https://doi.org/10.6903/JCL.201012_(1).0009

摘要

清乾隆時期，文人創作歷史劇蔚然成風。這一時期的代表劇作家蔣士銓（1725-1785），其所撰九種曲，出版時均冠以「史院填詞」四字。他的史劇在一般常見的「演史」的史劇之外，還出現了頗為現代的「詠史」的史劇。演史之劇，直接敷演歷史，引領讀者觀眾跳入歷史時空，接觸歷史人物及事件。詠史之劇，並不直接敷演歷史，而是呈現劇中人如何撫今追昔，懷古詠史。蔣士銓為紀念明寧王宸濠妻婁妃而撰著的《一片石》（1751）與《第二碑》（1776）為詠史紀事之作，與其後敷演婁妃本傳，兼及王陽明之《採樵圖》（1781）在呈現歷史的方式上有明顯區別。本文以此三劇為例，探討清代文人戲曲家書寫歷史的方式及其創作動機，並重點分析他們如何形塑歷史記憶，思考女性、自我與歷史的關係，展現史心史識等問題。論文強調了這三劇中的「自我反顧性」（self-reflexivity），並說明了《第二碑》的創作，與作者哀悼其師友、乾隆朝文字獄的受害者彭家屏有關。而蔣士銓在婁妃身世中所看重的，除了節烈，還有其獨立自主之精神。

關鍵字

蔣士銓 ； 歷史劇 ； 自我反顧性 ； 宸濠之叛 ； 清代戲曲

並列摘要

During the reign of Qianlong in the Qing, it became popular for Chinese literati to create historical dramas. The representative playwright at this time was Jiang Shiquan (1725-1785). The nine plays that he composed were published under the four-character title of ＂Shiyuan tianci＂ (Dramas written by a historian). Other than historical dramas befitting the usual view of such dramas as ＂performing history,＂ there appeared in his plays a rather modern form that may be considered as ＂historical reminiscence.＂ Historical dramas that ＂perform history＂ directly present re-enacted history, leading the readers or audience to jump into historical time and space, to contact historical persons or events. Plays involved with historical reminiscence, on the other hand, do not directly re-enact history, but rather present how the play grounds itself in the present in pursuit of the past, how it reminisces about history. Jiang Shiquan memorialized Lou Fei, the wife of the Ming Dynasty's Prince Ning, Chenhao, in his plays Yipian shi (A Stele, 1751) and Di'er bei (The Second Memorial, 1776), to record and reflect on history. In regard to the ways of presenting history, these plays are quite different from his later play Caiqiao tu (The Portrait of a Woodcutter, 1781), which performs the history of Lou Fei, and Wang Yangming directly. This article takes these three Lou Fei plays as examples to explore the forms whereby literati playwrights of the Qing represented history, and their creative motives. It also analyzes problems of: how they shaped historical memory; how they considered the relations between female gender, the self and history; and how they expressed historical consciousness. The article emphasizes the self-reflexivity of the three plays, and explains that the creation of Di'er bei is connected to the playwright's mourning for his teacher and friend, Peng Jiaping, a victim of Emperor Qianlong's persecution. In the life story of Lou Fei, Jiang apparently appreciated not only her moral integrity, but also her spirit of self-constituting autonomy.

並列關鍵字

Jiang Shiquan ； historical drama ； self-reflexivity ； Chenhao Rebellion ； Qing drama