女性、歷史與戲曲：清傳奇中王翠翹故事對史傳與小說的改寫及其意涵

Women, History and Drama: The Re-writings of Wang Cuiqiao Story in the Plays of the Qing

華瑋(Hua, Wei)

《中國文學學報》 3期 (2012/12) Pp. 111-139

https://doi.org/10.6903/JCL.201212_(3).0006

摘要

明清文人述王翠翹事者甚夥。王翠翹，原為娼，後成海寇徐海妾，因勸徐海降，而與明嘉靖抗倭將領胡宗憲發生聯繫。從清初到清中葉，有三位戲曲家：王鑨、葉稚斐與夏秉衡，對明代史傳與小說中之王翠翹事加以不同的重寫與再造；她被塑造成情感忠貞的女性，以寄託男性文人對政治、道德的批判與自身之理想、價值。清初戲曲家王鑨，其《秋虎丘》藉倭亂書寫明清易代戰亂的回憶，作者描繪王翠翹對徐海的深情，兼及她在倭亂平定中的貢獻，來寄託他在天崩地解世變後對「生」與「情」的價值信念，或許也為自己之降清尋求寬解。同時代的蘇州派曲家葉稚斐，其傳奇《琥珀匙》對王翠翹事的取材脫離了民族戰爭，改向城市生活靠攏。至乾隆時期，夏秉衡的傳奇《雙翠圓》旨在藉王翠翹剛正義烈的新塑形象，以儒家倫理道德，教化民眾。本文結論指出：在文本生產與消費這一動態過程中，歷史時空、社會環境、個人生命體驗、觀眾需求與文體特性等不同因素對再現及評價歷史人物，皆有其作用及影響。同時，有關女性歷史人物事蹟之真實性，往往並非男性曲家的追求，他們反倒傾向於刻意挪借女性歷史人物事蹟，以求自由發抒其自覺重要之主觀情感與道德關注。

關鍵字

清戲曲 ； 明史 ； 王翠翹 ； 歷史劇

並列摘要

Numerous men of letters in the Ming and Qing periods narrated the events of Wang Cuiqiao. Wang was originally a courtesan who became a concubine of the pirate Xu Hai. Having urged Xu to surrender, she had connections with Hu Zongxian, who fought piracy in the Jiajing period of the Ming. From the early to the mid-Qing, three dramatists-Wang Long, Ye Zhifei and Xia Bingheng-introduced different re-writings and recreations of the story of Wang Cuiqiao in the historical annals and novels. She was transformed into a woman of loyal and pure sentiments in order to accommodate the criticisms of male literati towards politics and ethics, along with their own ideals and values. The dramatist Wang Long of the early Qing, in his ＂Qiu Huqiu,＂ described the profound love of Wang Cuiqiao for Xu Hai, and her contribution in quelling the piracy disorder; his description expressed his belief in the value of ＂life＂ and ＂emotion＂ in the period of great upheaval. Perhaps he was also looking for forgiveness for having surrendered to the Qing himself. In the same period, the dramatist Ye Zhifei of the Suzhou school, in his chuanqi ＂Hupo Chi,＂ left the aspects of war behind in his treatment of Wang Cuiqiao, altering it to draw closer to urban life. By the Qianlong period, Xia Bingheng, in his chuanqi ＂Shuang Cui Yuan,＂ was intent to portray a newly created image of Wang Cuiqiao as an embodiment of Confucian ethics to transform the masses. The conclusion of this essay points out that in the dynamic process of production and consumption of texts, historical context, the social habitus, individual experiences of life, the demands of the audience, particular features of the literary genre, all exert their influences in the representation and assessment of historical figures. Simultaneously, the authenticity of the traces left by female historical figures was never what the male dramatists were looking for; conversely, they tended deliberately to borrow the traces of female historical figures, while seeking to freely express the subjective emotions and ethical concerns that they perceived to be of importance.

並列關鍵字

Qing dynasty drama ； Ming dynasty history ； Wang Cuiqiao ； historical drama