明末反魏閹傳奇《喜逢春》與《磨忠記》之研究

Abstract

本文以明末反魏閹主題傳奇《喜逢春》和《磨忠記》為研究對象，以期辨析將「忠奸對決」作為故事主旨之「時事劇」，其文學和史學之價值，乃至對於新聞傳遞、鎔裁資訊和匯聚輿情重要意義。並藉此探問戲曲對於故事詮釋、人物形象塑造與影響的諸多層面，從而可見政治題材時事劇在明末歷史敘事的特出之處。 學界對於「反魏閹小說」、「時事文學／時事劇」，乃至於清初反魏閹戲曲《清忠譜》等主題之研究已有相當成果，然現存唯二「明末反魏閹主題傳奇」之《喜逢春》和《磨忠記》仍有待翔實考索。有鑑於此，本文藉由「單一文本細讀法」和「多重文本比較法」，深入探究《喜逢春》和《磨忠記》之內容，並採取由外緣突入內裡之研究徑路。首先爬梳現存《喜逢春》和《磨忠記》的版本源流，並將該二劇放置於崇禎皇帝翦除魏閹的時局氛圍，以彰顯該二劇的創作、刊印乃至於流通等現象的代表意義，從而可見民間凝聚輿論，並形塑時事詮釋、傳達期許，渠更先於官方實際的舉措處斷。本文更從戲曲禁燬之角度，論述《喜逢春》於乾隆朝禁燬戲曲的深遠影響及歷史詮釋的重要地位。除此之外，亦修正鄭振鐸對於《喜逢春》之明清二種刊本之論、亦補充《磨忠記》現存之版本源流，且各自建立《喜逢春》與《磨忠記》之版本源流演變圖。 再者，本文亦以由外緣突入內裡之方式，各自分析《喜逢春》和《磨忠記》之文本內容，先敘寫劇作故事梗概，再剖析其中組織架構劇情之方式，最終討論腳色行當與劇中人物之對應、故事角色的形象呈現策略。透過上述分析方式，筆者認為「明末反魏閹主題傳奇」在情節開展之敘事技法、劇作世界觀的構建筆法等方面，皆具有超前於當時戲曲創作的時代先聲價值，該二劇一方面賡續《鳴鳳記》所奠立之朝堂政爭、忠奸對決的故事色彩；一方面影響迄於《清忠譜》暴力而寫實的故事色彩，以及敘事緊湊之創作筆法。職是之故，筆者更於本文提出：從《喜逢春》和《磨忠記》之文本風貌，可見中國傳統戲曲創作題材、主旨乃至於形象詮釋之研究，實有更多開展可能。 本文架構首先依照《喜逢春》和《磨忠記》區分，並將其內容分為：藉曲本流通觀察作者／讀者／時代背景為切入視角，以及故事內容和忠奸呈現的翔實剖析。而由於建構《喜逢春》流傳禁燬等方面之材料較為特出，筆者得以藉此開展：乾隆朝禁燬本劇之過程和文化政策、《玉夏齋傳奇》／《十種傳奇》的異同暨流通、故宮藏平圖善本的價值諸方面之內容。因此關於《喜逢春》之討論別立為第二、第三章。關於《磨忠記》之討論則集中於第四章呈現。

The article focuses on the study of two plays from the late Ming Dynasty, Xi-feng-Chun and Mo- Zhong-Ji, with the theme of anti-Wei Chung-shen. It aims to analyze the value of "political drama" with the theme of "loyalty versus treachery" as the main plot in terms of literature and historiography. Additionally, it explores the significance of drama in news dissemination, information shaping, and gathering public sentiment. Through this examination, the article investigates various aspects of story interpretation, character portrayal, and the influence of drama, shedding light on the exceptional nature of political-themed historical narratives during the late Ming Dynasty. The academic circle has achieved considerable results in researching themes such as " anti-Wei Chung-shen novels", and even the theme of anti-Wei eunuch in Qing Dynasty drama, such as "Qing-zhong-pu." However, two plays from the late Ming Dynasty Xi-feng-chun and Mo- Zhong-Ji,still require comprehensive exploration. This article thoroughly investigate the content of Xi-feng-Chun and Mo- Zhong-Ji and takes a research approach that starts from the external context and then delves into the internal aspects. First, it traces the sources and editions of the existing versions of Xi-feng-Chun and Mo- Zhong-Ji situating these two dramas within the historical context of Emperor Chongzhen's efforts to eliminate Wei eunuchs. This analysis highlights the significance of their creation, printing, and circulation, emphasizing their representative role in gathering public opinion and shaping contemporary interpretation and expectations, which often preceded official actions. The article also discusses the profound impact of the burning of dramas during the Qianlong reign on Xi-feng-Chun and the drama's importance in historical interpretation. In addition, it revises Zheng Zhenduo's arguments concerning the two editions of Xi-feng-Chun from the Ming and Qing dynasties and supplements information about the existing versions and sources of Mo- Zhong-Ji. Furthermore, the article establishes separate evolutionary charts for the textual transmission of both two plays. This article also adopts the approach of starting from the external context and then delving into the internal aspects. It separately analyzes the textual content of Xi-feng-Chun and Mo- Zhong-Ji. It begins by describing the plot summaries of the dramas, then dissects the narrative techniques and organizational structures employed in the plot development. Finally, it discusses the correspondences between the roles of characters and the portrayal strategies of the characters in the plays. Through this analysis, the author believes that the "late Ming anti-Wei eunuch-themed legends" demonstrate pioneering narrative techniques and creative world-building approaches in the unfolding of the plot and construction of the dramatic worldview, surpassing the contemporary theatrical creations. These two plays not only carry on the story colors of court struggles and loyalty versus treachery established by Ming-Feng-Ji but also influence the later violent and realistic story colors in dramas like Qing-Zhong-Pu and adopt a more compact narrative style. Consequently, the author argues in this article that the textual style of Xi-feng-Chun and Mo- Zhong-Ji reveals a wealth of possibilities for researching traditional Chinese drama's themes, main plots, and character portrayals.