《紅樓夢》中引用戲曲之研究

Abstract

本論文由《紅樓夢》本文及脂評著手，找出《紅樓夢》明說或暗用的戲曲情節，並深入比較戲曲再上下文中擔負的功用及與《紅樓夢》主旨精神的內在相通處。共分為六部份。 第一部分是緒論，包括寫作動機，前人相關論述，以及把《紅樓夢》引用戲曲的主要功能概略介紹。 第二部分討論戲曲在寶黛修成「情」果之路上擔負的功用。曹氏不論是描寫寶黛戀愛的種種樣態，或是寶玉「情不情」以及黛玉「情情」生命，每每從戲曲裡汲取養分。《西廂記》崔張二人一見鍾情的狂喜與傾慕，《牡丹亭》杜麗娘因為愛情的渴望與失落而產生的快樂苦痛，對寶黛來說不僅是新鮮的體驗，也讓他們找到了一個表達情感的密道。 第三部分探討以戲曲反映賈氏宗族盛衰，以及人物命運感的功能及意義。戲曲同時兼有文學與表演藝術的特性，能把漫長的人生凝聚、立體化。賈府從篳路藍縷的「過去」、冠蓋雲集的「現在」到大限來時各自飛的「未來」，恰好分別由《白蛇記》、《滿床笏》、《南柯記》組合成命運三部曲。彰顯人類逃不出天地鐵律的無奈感，也同時譴責賈府中人的「居安不思危」。賈府中的女性人物的一生更是意志與命運不停的鬥爭。儘管她們都想爭取美滿的生活，命運之手卻讓她們努力爭來的「好命」成了一種諷刺。 第四部份討論戲曲與男主角寶玉禪悟出家的關聯。《邯鄲記》與《南柯記》說明人的功名與色情執之難破。但功名渴望本全由外爍可以在一瞬間拋的一乾二淨；色情的渴望卻包含人性之內可能永遠跟隨。因此寶玉回到青埂峰下回復成頑石身上卻仍刻滿紅塵經歷。寶玉重要的禪悟經由〈山門〉引發，因為魯智深的基本特質是寶玉性格中原有，不過魯智深類似「自色悟空」，寶玉是由情轉空。頑石在回歸大荒山實是一種無奈的選擇。 第五部分關注在世族日常生活中的戲曲活動。賈府無戲不歡的生活樣貌正是明末清初世家大族的共通特色。比如與曹雪芹處身同樣戲曲大環境下，一樣出身世家的張岱，在《陶庵夢憶》裡就紀錄了許多與《紅樓夢》相通的世家大族戲曲生活。雖然《紅樓夢》出現的大部分戲曲生活面向，都可以在其他文學作品裡發現，可是《紅樓夢》詳細描寫戲曲滲透入女性生活成為不可分離的元素則較為罕見。第六部分是結論。

This thesis is based on the main text of “The Dream of the Red Chamber” . Trying to find out the plots of the dramas used apparently or secretly and comparing the function of the traditional operas in the text with the substance or inner spirit in this book. It can be divided into six parts. The first part of the thesis is the prologue and introduction of this thesis, including the motive of writing, the concerning comments of the early scholars, and the main functions of the quotation from the traditional operas. The second part focuses on the role the traditional operas play during the process . Caosyuecin describes whether the love affairs of Baoyu and Daiyu or their lives of Baoyu’s 寶玉cingcing and Daiyu’s黛玉 cinbucing, he always derived lots of elements and inspiration from the traditional operas. In XiXiangji 西廂記, the chief characters fell in love with each other at the first sight. And in Mudating牡丹亭, because of the desire and loss of love , Du Li-Niang 杜麗娘was also indulged in the grief and joy coming along with love affair. For Baoyu and Daiyu, that is not only a totally fresh experience, but also a secret tunnel for them to express their slightest feelings. The third part is concerned with the meaning of the traditional operas shows, including the ups and downs of Jia and every characters’ fortune. The traditional Chinese operas contains the properties of literature and performing. They show the epitome of real life. The author picks up three traditional operas as the presages of Jia’s family, and compares Baisheji白蛇記 to the past, Manchuanghu滿床笏 to the present and Nankeji南柯記 to the future. It reveals the sense of helpless of human beings, who cannot escape from the regulations made by the unknown dominator and criticize the Jia’s family who never think of being prepared for danger in times of peace. All those female characters’ life in Jiafu賈府 is the struggle between will and fate. Even though they try their best to compete for a better life, the destined fate make their efforts become sarcasms. The forth part tries to find the connection between the traditional operas and the reason why male character choose“chujia”出家as his final choice. Handanji邯鄲記 and nankeji mean that it is hard for human to give up pursuing prestige and voluptuousness. Even we can abandon the desire of fame and wealth lightly, the desire of voluptuousness is rooted deeply in human’s nature and impossible to get rid of it. Therefore, after Bayou go back to QingGengFong青埂峰 and turn back to the stone with those experience in the human world inscribed on it. Baoyu’s significant“chanwu”禪悟 was inspired by Shanmen山門, because of the similarity in nature between and Baoyu. Lu Zhi-Shen魯智深 is“zisewukong”自色悟空；however, Baoyu is “youqingzhuankong.”由情轉空Actually, going back to Mt. DaHuang大荒山 is the last choice for the stone. The fifth part focuses on the role played by the dramas in the clan’s family. Appreciating traditional dramas is a crucial part of their daily life in Jia’s family, and it is also the common feature among the clan’s family during the end of the Ming dynasty and the beginning of Ching dynasty. Just as Zhang Dai張岱 , a man who had similar background with Cao Xue-qin曹雪芹 , recorded the same plots which is interlinked with “The Dream of the Red Chamber” in the book, Tao－An Meng Yi陶庵夢憶 . Although most of the traditional operas we can also find in other literary works, the book depicts in detail how the traditional operas become a indispensable part of their lives, such as their daily conversation or the literary creations the made. This distinguishing feature is merely seen in other novels, and also a unique part worth studying. The sixth part is the conclusion of the thesis.