豔情與鬱情──抒情視角下的順康朝（1645-1705）觀劇詩

Abstract

本文以清初順治、康熙朝（1645-1705）詠劇詩歌為主體，首先釐清時代背景與寫作情境。以此分析詠劇詩內容，說明清初詠劇詩具有紀麗寫藝的寫作傾向與濃厚社交、應酬性質，論述其成因，乃由戲曲綜合表演性質與詩歌緣情綺靡的豔詩傳統而來。 接著解讀個別詠劇詩，將詩作分為詠演劇詩、詠藝人詩、詠劇情詩三大類討論。詠演劇詩帶有強烈功能性，寫作型態以紀實酬贈為主，概觀描寫宴會觀劇過程；詠藝人詩以場上歌伎舞者為對象，以華藻雕飾藝人聲容歌舞，強調其青春明麗形象；而詠劇情詩則將重點放在戲劇情節之上。三類詩作中絕大多數看似詞藻輕豔，脫落形骸，然而細究其內涵，可發現詩人觀劇時，經常因戲劇而引發感時傷逝、追懷過往的抑鬱情懷，詠劇詩也因此成為詩人情緒出口。 由是，本文試圖跳脫戲曲研究視角，從文學研究角度，探尋清初詠劇詩中，觀眾與劇場間情感的互動交流，清初詩人以何等眼光、情緒觀劇。探討詩歌與戲劇，如何在劇場中介下，生發出豔情與鬱情交揉錯綜的抒情文本。

The Ci poems on drama in Shunzhi and Kangxi volume in Quan Qing Ci reflect the interaction between Ci poems and traditional Chinese Opera during the early Qing dynasty. In view of the relationship between Ci poems and traditional Chinese Opera, the author firstly collects and cards the material about the dramatic world in Shunzhi and Kangxi periods. Then,the author has a macroscopic view about the writing background according to the description of the writers and their creations. The particularity of the Ci poems on drama is that it is the wing play objects and writer creativity entity. On one hand, it reflects a generation of literati with value judgment drama aesthetic ideas. On the other hand, it carries the writers personal feelings in the drama activities . So it includes rich cultural content. As a kind of word body creation, the Ci poems on drama is an important part of the chain in the Ci history and it is the subject of special type with a unique artistic aesthetic value.