明代組劇初探－以組劇界定與內涵分析為討論核心

「組劇」是明代中期以後新發展出的雜劇創作形式。過去學界雖注意到此一創作形式的存在，但相關的研究仍相當缺乏。本文以「初探」爲題，為筆者進行組劇研究的起點。本文包含兩項重點，一是釐析組劇義界，判別明代組劇劇目；二是探討明代組劇的內涵。筆者認為「組劇」是雜劇創作的特殊合集，形式由數本劇作組成而冠以一個總名，個別劇作既各自獨立完整，彼此間又於取材、內容或主題上有所關聯，以之貫串爲一整體。以此標準檢視明代雜劇，計得組劇十五種，共一百本。現存（含殘存）明代中後期雜劇計有一百六十九本，其中屬於組劇範圍者有八十二本，所佔比例達48.5%，近於半數，可知組劇對於今日所見明代中後期雜劇整體面貌之構成實具有重要影響。分析明代組劇的創作趨向，一是出自憤世之情，一是出自閒賞之趣，反映了劇作家的批判精神、生活情味與審美傾向，具有鮮明的文士特質。「文士化」是明代中期以後雜劇發展的整體趨勢，組劇則透過個別作品間呼應聯繫、類疊排比之效果，將「文士化」的特質高度集中的展現出來。基於憤世之情與閒賞之趣兩路創作趨向，明代組劇的內涵主要在於借古言志以抒發不遇之慨、嘲諷現實以批判世情澆薄醜惡、鋪寫宴樂以突顯文人才調情趣、寄託淡遠以表現含蓄意趣等等，後三者亦是明代中後期雜劇新出的內涵特質。而值得注意的是，明代中後期雜劇中最爲重要的愛情題材，在組劇中卻分量偏低，顯示組劇之創作具有逸出整體創作潮流之獨特面貌。進一步看，組劇之內涵與明代中後期雜劇創作概況相合者，大部分並非組劇依循整體潮流，反倒是由組劇擔任建構雜劇整體面貌的主要角色，由此更可看出組劇在明代中後期雜劇創作上的重要地位。

關鍵字

雜劇；組劇；套劇；抒懷寫憤；閒賞

並列摘要

”Tsu-chü” (drama set) is a new form of drama creation which is developed in the middle of the Ming Dynasty. There will be two major points including in this paper: the first one is to give definition of tsu-chü and to make a clear list of tsu-chü of Ming Dynasty. The second one is to probe into the substance of tsu-chü of Ming Dynasty. In my opinion, tsu-chü is a collection of tsa-chü, combining of several different plays with the same title. Each play in the tsu-chü is independent and completed; on the other hand, different plays in the tsu-chü are combined as a whole because of their related material, content or theme. According to this definition, we can get fifteen tsu-chü works in Ming Dynasty, which include one hundred plays. The extant tsa-chü works that were created after the middle of the Ming Dynasty are totally one hundred and sixty-nine plays. Among them, there are eighty-two plays belonging to the field of tsu-chü, and the percentage is 48%.According to the result, wecan find that tsu-chü has great influence on the whole style of tsa-chü that were created after the middle of the Ming Dynasty. To analyze the writing intentions of tsu-chü, one is out of writer's subjectivity, and the other is out of otiosity. The two intentions reflect the writer's critical spirit, living taste and aesthetic appreciation, which are typical characteristics of traditional Chinese literators. Basis on the two writing intentions, subjectivity and otiosity, the main substance of tsu-chü are expressing the frustration of politically unsuccessfulness, criticizing the filthy society, displaying literator's talent and taste and showing the sentiment of poetic implication. What worth noticing is that, the most important subject of the tsa-chü after the middle of the Ming Dynasty-love-only plays a small part in tsu-chü. It shows that the creation of tsu-chü is distinguished from the contemporary writing trend and is stylistic independent. Furthermore, when we find the substance of tsu-chü is similar to those of the tsa-chü after the middle of the Ming Dynasty, most of the time it's not because tsu-chü follows the contemporary writing current, but because it plays the major role of constructing the whole style of the tsa-chü creation at that time. From this, we can see clearly how much an important role tsu-chü plays among the tsa-chü creation after the middle of the Ming Dynasty.