陳志信。〈論晚明清初江右文士賀貽孫的泛戲曲評述及其意義〉。《民俗曲藝》226 (2024.12): 135-67。
Chen Chih-hsin. “The Significance of Pan-Xiqu Commentaries in the Work of the Late Ming and Early Qing Jiangxi Literatus.” Journal of Chinese Ritual, Theatre and Folklore 226 (2024.12): 135-67.
Abstract
晚明清初江右文士賀貽孫（1605–1688）作了一些將戲曲同詩歌、時藝比附討論，姑可稱作「泛戲曲評述」的批評，對它們進行研究，或將提供吾人一個機會觀察戲曲在從前士人生活中扮演的角色，並評析是類論述的文學史意義。在論文伊始，我們嘗試先對賀氏早年的讀書、應試生涯進行考察，我們看到：賀氏主要是通過參與文社的途徑來獲取文化信息；而在同來自江西各地的科考考生砥礪時文、切磋詩藝時，看戲賞曲的活動亦不時穿插在他的生活中，發揮紓壓力、固情誼、展才藝及洩憤懣等功能。再者，透過梳理這些評論，我們認識到賀氏進行文藝批評的目的，主為實踐竟陵派提出的詩家需厚植學養的主張；然蓋因賀氏對戲曲具鑑賞力，對劇壇相關信息亦具敏感度，遂教他終能作出一則則分別就曲調豐富多變的音效、插科打諢的生動效果、劇文的縝密構思和妥貼的擬代筆法等曲藝美學來發明詩歌及時藝美感的評說。最後，連結到賀氏寫的幾闕或可權充戲文的婉約詞及一、兩首富戲劇性的詩歌，我們又會發現賀氏領略到的曲藝美學亦注入其創作中，從而讓他寫的部分抒情及諷諭詩詞顯得別具戲味。要之，既非專業劇評，亦非劇作家的賀氏能有此等表現，實反映該時戲曲嘗展現旺盛活力的史實，而這個發現就是此番研究的最大收穫。
He Yisun 賀貽孫 (1605–1688), a Jiangxi
literatus who lived during the Ming-Qing transition, is renowned for his
literary critiques and pan-xiqu 戲曲 commentaries, particularly
his comparisons of xiqu, poetry, and eight-legged essays. Examining
these critiques offers valuable insights into the role of xiqu in the
lives of literati as well as their significance in the history of Chinese
literature. In order to better comprehend He’s literary perspectives, this
article first explores his early life, especially his preparation for the
imperial examinations and his involvement in local literary societies. He
actively exchanged ideas on essay and poetry writing with other candidates
while immersing himself in songs and plays. These activities served multiple
purposes: they relieved stress, fostered friendships, showcased talent, and
vented frustrations. He’s literary criticism was fundamentally aligned with the
Jingling 竟陵 School’s initiative that poets must enrich their work through
intellectual engagement. His refined taste and keen understanding of drama
enabled him to write critiques with insight. He explored the aesthetic
dimensions of drama, including its rich and varied musical effects, the lively
humor of comic relief, the meticulous design of plots, and the skillful use of
imitative writing, which reflected his profound appreciation of poetic beauty
and the aesthetic trends of his era. Lastly, by analyzing He’s wanyue 婉約 (graceful) ci 詞(which can be viewed as
libretti) alongside his allegorical poems with dramatic elements, we can
observe how he infused his understanding of the aesthetics of drama into his
poetry, endowing it with a unique theatrical quality. Although neither a
professional drama critic nor a playwright, He’s ability to produce such
exceptional works underscores the historical vibrancy of xiqu during the
late Ming and early Qing, and constitutes the most significant conclusion of
this article.