林芷瑩。〈論晚明曲選《怡春錦》之編選理念與時代特色〉。《民俗曲藝》225 (2024.9): 191-231。
Lin Chih-ying. “Exploring the Editorial Philosophy and Contemporaneity of the Late Ming Qu Anthology Yichun Jin.” Journal of Chinese Ritual, Theatre and Folklore 225 (2024.9): 191-231.
Abstract
本文通過晚明曲選《怡春錦》的〈序〉文段落，分由幾個不同的面向探討此書的編選理念及表現的時代意涵。此書主收明人劇作，並為此在〈序〉文中特別說明，印證「元之後，麗曲實多」，作為一種廣告與宣傳，建立了「我明」劇作的主體性。第二部分則論《怡春錦》的選劇標準，從具體作品可以看出既有符合舞臺演出的「臺本」，也有案頭閱讀的「墨本」，編選者並未以齊一標準進行刪定，同時滿足了讀者閱讀、歌者清唱、觀眾賞劇等不同面向的需求，在「文人型」選本中頗顯特殊。
而全書首卷非常集中地收錄男女歡會的情節，在〈序〉文中以《詩經》為宗，但更為正面地宣示「首麗情」的正當性，恰正與晚明縱欲風潮相映。此書除了在〈序〉文中以答客問的辯證方式指引讀者發現自己編排的用心外，也以每齣配圖、配詞的方式來凸顯對此集的看重，配詞對全劇的風情節摘引、改寫顯現編者的文字參與；並以不同書體手書上版，展示了刊印上的別出心裁。「幽期寫照禮集」以《西廂記•踐約》對春情加以渲染，據此開展全集中的風月情色，「弋陽雅調」所收散齣除聲腔的特色，更以情人、夫妻分離、失和的情節與首集的麗情相對，令全書的對稱、對照更加飽滿周全，塑造了《怡春錦》在晚明戲曲選本中獨樹一幟的特殊地位。
This paper discusses some aspects of the editorial philosophy
and zeitgeist reflected in the late Ming qu anthology Yichun
jin by examining its preface. Firstly, the anthology primarily collects
excerpts from Ming playwrights, as explicitly stated in the preface, to
advocate that “there are indeed more exquisite qu after the Yuan
[dynasty].” As a form of advertisement and promotion, this selection principle
also develops the subjectivity of “our/Ming” plays. Secondly, this article
examines Yichun jin’s criteria for selecting plays; either “works for
the stage” (taiben) or “works for reading” (moben) are included,
indicating that the editor did not adhere to a single standard but attempted to
satisfy diverse needs of readers, singers, and the theatergoers; this is
distinctive among “the literati-type” of anthologies.
Specifically, the first volume of Yichun jin collects
play excerpts that center on eroticism. The preface uses the Shijing as
its romantic origin, and strongly defends the legitimacy of “qing as its
first priority,” which aptly reflects the late Ming trend of indulgence. The
editor utilizes the “question and answer” strategy in the preface to emphasize
his intention, collocating illustrations and ci poems printed in different
calligraphy styles to show his intervention and ingenuity. In the first volume,
“Youqi xiezhao—Li,” the spring lust in the excerpt of Xixiang ji unveils
the erotic aura of this volume. In the last volume, “Yiyang yadiao,” apart from
its local musical style, the play features excerpts about the separation of
couples and lovers to become a contrast with the first volume, balancing the
idea of qing in the whole book. The editorial philosophy of the Yichun
jin contributed to its stature as a distinguished work among late Ming qu
anthologies.
Also in Journal
of Chinese Ritual, Theatre and Folklore:
林芷瑩。〈論白蛇戲曲年畫未見於今傳明清傳奇的「劇情」〉。《民俗曲藝》207 (2020.3): 61-110。
Lin Chih-ying. “On the 'Unknown Plot' of the White
Snake Legend in the Woodblock Prints of Theater Scenes.” Journal of Chinese Ritual, Theatre and
Folklore 207 (2020.3): 61-110.
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