李開先戲曲理論及其劇作之研究

Abstract

本文以明朝弘治到隆慶年間，活躍於山東曲壇的李開先，其劇論和作品為研究對象，首先建構李開先之戲曲理論，並從其擇選民間和文人作品之標準、如何改定元人雜劇，與他個人實際的明院本與傳奇創作之中，檢驗是否與其理論相符；再則觀察李開先獨出於當時代曲壇之關懷，給予他在戲曲發展歷史中較公允的評價和定位。 在戲曲源流上，李開先根據各文學體裁皆具有抒情寫志、反映真情實感的意趣，將戲曲納入以詩經為源頭的韻文學系統，並將「曲」視為重復古樂的憑依；而語意直截而真切的金、元兩代曲作，體現了文學乃人情之反映的本質，是為「曲」之正體。既為正體，則「曲」也必須具有感移人心的教化功能，如李開先所選元賢傳奇，與他的《寶劍記》、《斷髮記》作品，其情節和主要人物形象，多具忠、孝、貞節等特質，藉此宣揚善惡有報，以達激勸人心向善之效。 而在戲曲修辭及聲律方面，李開先對於民間或文人之作，則有相異的審美標準。一方面，他極看重文學能否展現人的情感，《詞謔》所選民間作品，縱有用字俚俗、違拗韻律之病，然這樣心口相映、不假雕琢的作品，卻深得他的喜愛。然而，要想成為高明的曲家，則必須在情真意切的基礎上，彰顯才性之奇、學力之深，聲韻規律以《中原音韻》所載為宗，行文遣辭則是個人妙悟的展現，從李開先之院本、傳奇，常能化用典故於流暢字句，既富個人獨特情味而又清新可賞，便能見出他對雅俗兼備的藝術追求。 李開先豐富而多樣的作品，兼涵觀眾、作者、評論家的三重身份，並存於理論和作品中的雅俗趣味，皆使李開先於明朝初中葉曲壇獨樹一幟，具有不容忽視的重要地位。

This paper focuses on the works of Li Kaixian, a Ming dynasty literatus active from the late 1550s to 1560s, comparing his theory of Chinese Drama and his own Yuanben and Chuanqi, to examine the ways in which his works correspond to his theory, and how this theory distinguished him from his contemporaries, and cemented his status as an important figure in the history of Chinese Drama. In his theory of origin of Chinese Drama, Li Kaixian brings Chinese drama into the styles of verse system that originate from the Shijing since it conforms to the interest of all the different literary genres, which is to express and reflect feelings, aspirations and true emotions, and sees Chinese Drama as it bases itself on the revival of tranditions. Li takes the masterpieces of Chinese Drama from the Jin and Yuan dynasties as canonical, because they reflect human emotion so effectively. As canonical texts, Chinese Dramas must possess the educational function of influence, such as Gaiding Yuanxian chuanqi (Revised Plays by Yuan Masters) selected by Li, and his work Bau Jian Ji and Duan Fa Ji. The story and the image of the main characters, mostly present traits like loyalty, filial piety and chastity, in order to advocate for the concept of karma and thus encourage people to do good. However, Li Kaixian follows a different aesthetic standard for rhetoric and rhythm in Chinese Drama. On the one hand, he emphasizes the question of whether or not literature can express people’s emotion; he likes folk pieces selected by Cixue (Banter about Lyrics) which he considers as genuine, regardless of the defects on wording and rhyming. However, to become an excellent Chinese Drama composer, Li believed that they have to build upon the basis of authentic emotions and demonstrate their impressive talent and profound knowledge. Rhyming patterns should stem from Zhongyuan Yinyun (Rhyme books of Yuan dynasty), while phrasing stems from individual comprehension and creativity. In Li Kaixian’s Yuanben and chuanqi, which use allusions to form fluid proseand abound in personal distinguishing features, his aesthetic pursuit of both popularity and refinement is evident. Li Kaixian’s abundant and diverse works, his triple identities as an audience member, an author, and a critic, his interest of popularity and refinement in his theory and works, all make Li Kaixian unique in the mid-Ming Dynasty Chinese Drama circle and afford him his important and remarkable status.