明清戲曲中的天妃形象考辨－以清傳奇《釣魚船》為論述中心

清代，隨著媽祖神格的提高和影響的擴大，出現媽祖情節和形象的戲曲更為多見，這些天妃媽祖基本都是以忠正和慈悲的女神形象出現，展現了劇作家對天妃形象的定位和認同。有趣的是，清代張大復的傳奇《釣魚船》中也出現了一位「天妃」，許多資料都將《釣魚船》歸到出現天妃媽祖的戲曲行列中，例如莆田文化網（http://www.ptwhw.com/?post=4612）中〈明清戲曲中的天妃形象〉即是。然而，《釣魚船》中的天妃出現在地府之中，時代又為媽祖成為天妃之前的唐代，且從自報家門即知並非媽祖林默娘，可見此「天妃」非彼「天妃」，論述者不可不詳查。然而由於《釣魚船》的男主角為漁夫，確實很容易跟媽祖產生連結，而清初以前出現媽祖天妃的戲曲不少，張大復為何要用「天妃」之名？甘冒魚目混珠之嫌？本文即從下列幾點加以釐清：一、自宋以來媽祖即被封妃多次，但「天妃」封號是否專指媽祖？二、明清戲曲中的天妃除了媽祖之外尚有何人？三、從《釣魚船》劇中的情節及天妃的「職能」，了解作者的天妃角色設定問題。

關鍵字

清傳奇；《釣魚船》；張大復；天妃；媽祖

並列摘要

In Qing dynasty, with the raise of Mazu's Goddess and the expansion of her influence, there were a growing number of opera themes relative to Mazu. These Tianfei/Mazu roles basically appeared as goddess of loyalty and compassion, and they all represent playwrights' comprehension of Tianfei's images. One of interesting examples was the ＂Tianfei＂ character in Zhang Da-fu (ca. A.D. 1554 -1630) 's Chaunqi (a form of chinese fiction) Fishing Boat in the Qing dynasty. Fishing Boat has been listed by many sources as one of operas themed with Tianfei Mazu. However, the character of Tianfei in Fishing Boat appears in the Hell scence with time setting of Tang Dynasty (A.D. 618 - 907). According to this Tianfei's narrative of self-identity, we can tell that she is not Lin Mo-niang, so this character is a different version of ＂Tianfei＂ from Mazu, and this is the reason that researchers have to check in detail. The male lead of Fishing Boat is a fisherman, therefore it's easy to connect him with Mazu. But there had been many operas featuring Mazu version of Tianfei before the early Qing dynasty, and it was not clear why Zhang use the name of ＂ Tianfei＂ in his work. This paper attempts to clarify the following questions: first, does the title ＂Tianfei＂ refer to Mazu specifically after the Song dynasty? Second, who else refers to ＂Tianfei＂ besides Mazu in the operas in Ming and Qing dynasties? Third, how to set up the character of ＂Tianfei＂ from the plot and Tianfei's function in Fishing Boat?