姜詩故事研究——以《躍鯉記》為中心

《躍鯉記》自明代問世以來爨演不輟，蓋與中國千年孝道文化緊密連結，唯學界迄今尚未見專書闡論，是本論文緒論首先從明代女性處境及節孝觀談起，爬梳歷代女教書中對「婦孝」之認知，明代女教書籍達產量巔峰，《躍鯉記》即是其中之戲曲代表。論文首章先釐清《躍鯉記》之作者及其版本，並考索明清戲曲選本中之折子戲，與全本戲進行唱詞賓白、曲牌之比較與分析，進而辨析其傳鈔順序。《躍鯉記》之姜詩本事最早源自《東觀漢記》，而其情節亦存在於二十四孝故事中則鮮為人知，故次章搜羅歷代姜詩故事，比較其中差異與演變進路。第參章分析《躍鯉記》之主題思想、情節安排、腳色行當，並嘗試釐清此劇究屬南戲或傳奇體製。第肆章聚焦於音樂，由弦索調切入，考察《躍鯉記》之曲牌工尺，及其成為崑劇〈蘆林〉後之唱法差異，輔以其他地方聲腔劇種作比較。第伍章分析研究崑劇〈蘆林〉及其他花部劇種之舞臺藝術，包含關目差異、新增情節及腳色安排變化等，以見花雅之不同格範。文末另附數種花部劇種演出相關曲譜，便於查索參照。

關鍵字

躍鯉記；蘆林；姜詩；安安送米

並列摘要

“躍鯉記”(“Yueh-Li-Chi”) is an opera of the Ming Dynasty, there is relatively few people research this part until now, also haven't seen any related books. This thesis is entitled This research investigating ancient books and modern examination, hope to have a more detailed discussion on this play. First, mention about the situation of women in the Ming Dynasty and the concept of chastity and filial piety. Inspect books for educating women in ancient Chinese, grasp the thoughts of female education in ancient China. Until the Ming Dynasty, more books for women’s education and related plays were produced, “躍鯉記” is one of them. This article is divided into five chapters. The first chapter clarifies the author and version of this opera, also look for the scattered, incomplete text in the script books of Ming Dynasty and Qing Dynasty, as well as compare the difference between integral version and incomplete version, to realize the order in which they are generated. The earliest source of this story is from “東觀漢記”(“Dung-Guan-Han-Chi”), and this tale also appeared in “二十四孝”(“Erh-Shih-Ssu-Hsiao”) in the Ming Dynasty, however, few people know about it. Therefore, Chapter Two collecting history books and literary works of“姜詩”(“Chiang-Shih”) story, compare the differences of texts from previous generations. Chapter three, analysis theme idea, plot arrangement, characters and actors of “躍鯉記”, and confirm that it belongs to “南戲”(“Nan-Hsi”) or“傳奇”(“Chuan-Chi”). Chapter Four focus on its music, explain“弦索調” first, Inspect melody （which is known as“曲牌”, “Chu-pai”）of it, and analyze changes in singing after it becomes “崑劇” which called“蘆林”(“Lu-Lin”). At the same time, it also compares the music of other dramas to this narrative. There are also study adaptations of operas in Chapter Five but direct on the differences and additions of the plot, and the change of roles. Finally, conclude this paper. There are also some relevent music score at the end of the dissertion.