梨園戲與宋元戲文劇目之比較研究

Abstract

梨園戲為學界公認為宋元戲文之後裔，體製方面的考察已明。本文則企圖更全面系統性地針對每一劇目內容詳加考察與宋元戲文之確切關係。採用的方法即是以現存的梨園戲劇本以及戲文之刊本（包括全本與選出本，古本系統與通行本系統）互相比較內容。其中包括了關目、情節、腳色、曲文、曲牌、聯套等方面。 在具體比較個別劇目之前，先對梨園戲現存或已佚劇目作總體的考察與整理。綜合前人輯目的成果以及筆者從南管曲文、梨園戲劇本內容的發現，共得一百四十七個劇目，並將之分為六大類：壹、有宋元戲文目可考者；貳、有明戲文目可考者；參、記載、刊本僅見於泉潮者；肆、宋元明戲文目中不見著錄者；伍、近代新編、外來劇目；陸、小戲。每一大類並依存佚狀況分為三小類：一、尚有存本；二、劇本佚，存曲；三、全佚，僅存目。再統計梨園戲三派：上路、下南、小梨園劇目於各大類中的數量分布。由統計結果觀察，推測上路興於宋元；小梨園興於宋元，益盛於明；下南興於明。 分類整理梨園戲全體劇目之後，筆者便以「壹、有宋元戲文目可考者」其中「尚有存本」一項為主要探討對象，包括十八個劇目：《王十朋》、《劉智遠》、《蔣世隆》、《孫榮》、《趙真女》、《呂蒙正》、《蘇秦》、《郭華》、《劉文龍》、《朱文》、《王魁》、《朱買臣》、《董永》、《祝英台》、《鄭元和》、《孟姜女》、《八仙慶》、《宋祁》。在詳細比對各劇的梨園戲存本和戲文刊本後，筆者得出幾點結果： 一、梨園戲《呂蒙正》、《蔣世隆》、《趙真女》和宋元戲文的古本系統遞襲關係直接、明顯；《朱文》雖已無任何戲文刊本可對照，但和宋元殘曲極為相似。此四劇對於宋元戲文之繼承最為單純易辨。 二、梨園戲《蘇秦》、《王十朋》二劇則和宋元戲文古本系統中的《風月錦囊》有深厚的淵源，可能和明代弋陽腔流布閩地有關聯。 三、梨園戲《劉智遠》、《董永》、《祝英台》三劇和弋陽腔系的戲文有密切的關係，可判定是弋陽腔系統的影響。 四、梨園戲《郭華》、《王魁》、《朱買臣》三劇較現存戲文刊本面貌古樸，從某些跡象可看出和宋元戲文的傳承。 五、梨園戲《孫榮》、《鄭元和》、《孟姜女》、《劉文龍》、《八仙慶》五劇在刊本資料稀少的情況下，尚無法得知其面貌早晚、對戲文繼承關係之詳情。 六、梨園戲《宋祁》一劇今所見之面貌乃是融匯宋元戲文《陶秀實》、明戲文《蘇東坡》、明代小說〈蘇小妹三難新郎〉而來。 除了個別劇目和宋元戲文的傳承情況，筆者並發現了全體劇目共有的現象，即：梨園戲存本之關目失落甚多，可能是折子戲的發展或梨園戲的衰落所致。而現存關目以女主腳的劇情為主，反映出梨園戲去取的偏好。現存關目中，曲牌名亦大量地闕佚，使得聯套之探討困難；只能大略得知梨園戲相對於宋元戲文，聯套有增繁、省減、不變三種情況。此外，明代的改戲風潮對於梨園戲的內容主題、情節、聯套、曲辭等等各方面也有或多或少的影響。 綜合以上可知，梨園戲雖為宋元戲文之嫡裔，卻非固守宋元之舊貌，亦會受時代風潮之濡染，並有自身的發展變化。

According to researches on the forms of Li-Yuan Xi 梨園戲, this kind of local drama in Southern Fu-Jian, China, is considered to be the heir to Song Yuan Xi-Wen 宋元戲文. The intention of this thesis is to find out the detailed relationship between every individual work in Li-Yuan Xi and that in Song Yuan Xi-Wen. In the thesis, we compare all existent texts of Li-Yuan Xi with those of Song Yuan Xi-Wen, including complete texts (Quan Ben 全本), anthologies (Xuan-Chu Ben 選出本), the early texts (Gu Ben 古本), and popular texts (Tong-Xing Ben 通行本). Acts (Guan-Mu 關目), roles (Jiao-Se 腳色), tunes (Qu-Pai 曲牌), tune combinations (Lian-Tao 聯套), plots, and lyrics (Qu-Wen 曲文) are also discussed during the comparison. In this thesis, plays of Li-Yuan Xi are firstly collected and then divided into six groups. Group One includes plays whose origin can be traced back to Song Yuan Xi-Wen. Group Two includes plays whose origin can be traced back to Ming Xi-Wen 明戲文. Group Three contains plays that only appear in Quan-Zhou Xi 泉州戲 and Chao-Zhou Xi潮州戲 in both the Ming and Qing Dynasty. Group Four contains plays that can neither be found in Song Yuan Xi-Wen, nor in Ming Xi-Wen. Group Five embraces plays that are adapted or imported from other kinds of drama after the late Qing Dynasty. Group Six embraces Xiao-Xi 小戲, a primitive form of drama. Then, according to the state of preservation of texts, each group is further separated into three types. Type One: texts still available. Type Two: texts lost while parts of arias came down. Type Three: only titles of plays remained. Most plays in ‘Shang-Lu’ 上路, one of the three branches of Li-Yuan Xi, can be found in Song Yuan Xi-Wen and very few of them are found in the other groups. It reveals that Shang-Lu was the earliest branch taking place in Southern Fu-Jian, in the Song and Yuan Dynasty. Aother branch, ‘Xia-Nan’ 下南, with very few plays in Song Yuan Xi-Wen, is a direct opposite to Shang-Lu. It shows that Xia-Nan took place much later in the Ming Dynasty. Still another branch, Xiao Li-Yuan 小梨園, with some of its plays in Song Yuan Xi-Wen and some of them in the other groups, is really an in-between of the two. It proves that Xiau Li-Yuan took place in the Song and Yuan Dynasty, and was later developed in the Ming Dynasty. After the collection of all of the plays in Li-Yuan Xi, the thesis focuses on Group One, Type One: plays whose origin can be traced back to Song Yuan Xi-Wen, with texts available. There are 18 of them: Wang Shi-Peng 王十朋, Liu Zhi-Yuan 劉智遠, Jiang Shi-Long 蔣世隆, Sun Rong 孫榮, Zhao Zhen-Nyu 趙真女, Lyu Meng-Zheng 呂蒙正, Su Qin 蘇秦, Guo Hua 郭華, Liu Wen-Long 劉文龍, Zhu Wen 朱文, Wang Kui 王魁, Zhu Mai-Chen 朱買臣, Dong Yong 董永, Zhu Ying-Tai 祝英台, Zheng Yuan-He 鄭元和, Meng-Jiang Nyu 孟姜女, Ba-Xian Qing 八仙慶, and Song Qi 宋祁. Comparing the texts of these plays in Li-Yuan Xi with those in Song Yuan Xi-Wen, six conclusions are drawn. First, the texts of Lyu Mong-Zheng, Jiang Shi-Long, and Zhao Zhen-Nyu in Li-Yuan Xi are very similar to the early texts of Song Yuan Xi-Wen: Pou-Yao Ji 破窰記, Bai-Yue-Ting Ji 拜月亭記, and Pi-Pa Ji 琵琶記. The arias in Zhu Wen are similar to those preserved from the lost text Zhu Wen Tai-Ping Qian 朱文太平錢 in Song Yuan Xi-Wen. It shows that plays in Li-Yuan Xi are derived from the earlier texts of Song Yuan Xi-Wen. Second, texts of Su Qin and Wang Shi-Peng in Li-Yuan Xi have a close connection to that of Feng-Yue Jin-Nang風月錦囊, one of the earlier texts in Song Yuan Xi-Wen. It is probably because Yi-Yang Qiang 弋陽腔 entered Fu-Jian in the late Ming Dynasty. Third, texts of Liu Zhi-Yuan, Dong Yong, and Zhu Ying-Tai in Li-Yuan Xi have an intimate connection with those in Xi-Wen in the Yi-Yang Qiang family, Qing-Yang Qiang 青陽腔, Hui-Zhou Qiang 徽州腔, and Gun-Diao 滾調 included. Undoubtedly, these plays were directly influenced by those in the Yi-Yang Qiang family. Fourth, texts of Guo Hua, Wang Kui, and Zhu Mai-Chen in Li-Yuan Xi preserve certain features of Song Yuan Xi-Wen. Yet these characteristics were later removed in adaptations in the Ming Dynasty. Fifth, the exact condition of Sun Rong, Zheng Yuan-He, Meng-Jiang Nyu, Liu Wen-Long, and Ba-Xian Qing in Li-Yuan Xi are not clear, due to the lack of texts in Song Yuan Xi-Wen. Sixth, Song Qi in Li-Yuan Xi was a combination of Tao Xiu-Si 陶秀實 in Song Yuan Xi-Wen, Su Dong-Pou 蘇東坡 in Ming Xi-Wen, and Su Xiao-Mei San Nan Xin-Lang 蘇小妹三難新郎, a fiction written down in the Ming Dynasty. In most plays, lots of acts were lost as a result of the development of Zhe-Zi Xi 折子戲 or the decline of Li-Yuan Xi itself. And most of the existent acts cast a female lead, not a male one. It reflects the interest of audience of Li-Yuan Xi in Southern Fu-Jian. In addition, most of the titles of tunes are not recorded clearly, making it more difficult to research the evolution of tune combinations from Song Yuan Xi-Wen to Li-Yuan Xi. Broadly speaking, tune combinations in Li-Yuan Xi may be increased, decreased, or remain their original forms. Moreover, the fashion of adapting Song Yuan Xi-Wen in the Ming Dynasty also influenced Li-Yuan Xi in some aspects, such as subject, plots, tune combinations, lyrics, and so on. In brief, although Li-Yuan Xi evolves from Song Yuan Xi-Wen, instead of preserving the just original shape of Song Yuan Xi-Wen, Li-Yuan Xi changes with time and has developed a system of its own.