汪詩珮。〈晚明曲類選本「三欄併讀」初探：以《琵琶記》、《三國記》選齣為例〉。《民俗曲藝》225 (2024.9): 59-124。
Wang Shih-pe. “Exploring the ‘Triple-Register-Reading Strategy’ in Late Ming Qu Anthologies: Selections from Pipa Ji and Sanguo Ji.” Journal of Chinese Ritual, Theatre and Folklore 225 (2024.9): 59-124.
Abstract
本文以晚明萬曆時期的曲類選本為論述主題，針對三欄式選本進行「三欄併讀」的探索，解析欄位文本彼此的隱然聯繫、潛在的編選策略、意在言外的閱讀方式。論述將以《琵琶記》、《三國記》選齣為例，探究「三欄皆為戲、曲」的討論，提出各欄內容之間的組合，並非隨意性、無規則者，而是不乏暗藏機心、埋有隱喻，富有聯想遐思者。本文主張，三欄併讀法更倚賴以「頁」為大單位，「欄」、「欄」之間為小單位，形成板塊式的視覺意象，其間「樂府」與「隱語」的關係，實乃元末南方曲家之遺風與深化。透過選齣與小曲的三欄組合，打碎分別閱讀所得之意義結構，產生新的歧義與隱意，為熟悉劇、曲的讀者帶來全新的體會，堪稱是一種「翻轉閱讀法」。
This article delves into qu anthologies from
the late Ming Wanli period, exploring the interconnections among texts in their
triple registers, editorial strategies, and interpretive contexts beyond
literal meanings. Through selected excerpts of Pipa ji (The Story of the
Lute) and Sanguo ji (The Story of Three Kingdoms), I investigate the
structured combination of plays and songs across the triple-register-page
layout miscellanies and reveal that their arrangement is not arbitrary but rich
with hidden metaphors and imaginative insights. Based on the relevance, I argue
that the “triple-register reading strategy” utilizes the “page” as a large unit
and the “columns” as smaller units, creating a block-like visual narrative. The
relationship between “yuefu” (qu) and “hidden words” (yinyu)
can be traced back to Southern qu writers of the late Yuan dynasty,
influencing interpretations across the triple registers. By integrating plays
and songs in this manner, the conventional structures of individual readings
dissolve, giving rise to new ambiguities and layers of significance, offering
readers familiar with plays and songs an alternative approach akin to “flip
reading.”
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