徐渭《四聲猿》由《狂鼓史漁陽三弄》、《玉禪師翠鄉一夢》、《雌木蘭替父從軍》和《女狀元辭凰得鳳》四個雜劇組成,對明清雜劇的影響深遠。《四聲猿》從問世到清代,文人雅士通過序跋、評點、刊刻和擬作紛紛顯示出對《四聲猿》的關注。究竟《四聲猿》有甚麼獨特之處吸引著明清二代的文人?他們所關注的又是甚麼呢?又明清文人對其接受有何不同?雖然關於《四聲猿》的研究已經非常豐富,但卻集中文本內部的討論,加上資料的缺乏,對《四聲猿》在明清的接受概況缺乏全面的分析。因此,筆者致力於搜集《四聲猿》在明清時期的評點本及與《四聲猿》聯繫的雜劇創作,欲勾勒出明清文人對《四聲猿》接受的情況;且有幸發現一些未被學界引用的評點善本及戲曲創作,尤其是當中新發現上海圖書館所藏的明天放道人評點善本,展示了《四聲猿》更多元化的接受方向。 / 本文主要從兩方面分析《四聲猿》在明清的接受概況,第一,從《四聲猿》的版本流傳及演出紀錄、傳播者、戲曲批評、戲曲創作四方面分析明清文人對《四聲猿》的接受;第二,則以時間為軸線,從明中葉、晚明清初、清中期及清末四個階段分析文人對其接受重心的轉變。本文共分七章,第一章為緒論部分,首先簡介徐渭的生平及《四聲猿》、研究概況、本文的研究動機及方法;第二章為《四聲猿》與民間文化、文人文化的關係,分析作品對民間文化的吸收及當中所體現的文人對自身及社會的關注;第三章介紹《四聲猿》的明清版本流傳及演出紀錄;第四章為《四聲猿》的明清評點與批評,從對《四聲猿》起傳播作用的重要人物袁宏道、澂道人及其他戲曲批評家分析《四聲猿》在明清接受的面貌,當中更會引用新發現的天放道人評點本如何將《四聲猿》擴展至社會功用的價值;第五章為晚明至清中葉戲曲家對《四聲猿》的仿寫與續作,通過對沈自徵《漁陽三弄》、張韜《續四聲猿》、桂馥《後四聲猿》的擬作分析探討明清不同時期對《四聲猿》接受的重心轉變;第六章為猿啼五聲──清末戲曲家洪炳文《懸嶴猿》研究,分析在時局動盪、國家危難之時,劇作家如何深化《四聲猿》猿啼之悲的意象,以此鼓勵人心,圖以救國;最後第七章則總結明清以來,《四聲猿》在戲曲批評、戲曲作品以致詮釋上方面的轉變。 / Xu Wei(徐渭) sisheng yuan(《四聲猿》) is very important in the Ming and Qing Dynasty. It includes four short plays, they are Kuang gushi yuyang san nong(《狂鼓史漁陽三弄》), Yu chanshi cuixiang yimeng(《玉禪師翠鄉一夢》), Ci Mulan tifu congjun(《雌木蘭替父從軍》)and Nu zhuangyuan cihuang defeng(《女狀元辭鳳得凰》). During the Ming and Qing Dynasty, literti paid a lot of attention on sishengyuan accroding to the criticism, preface, ed his works and simulated drama creation(擬作), why did they attach great importance to sishengyuan? What were their concern? Also, what is the difference of reception between the Ming and Qing Dynasties? The research on the sishengyuan has already got many achievement, but most of them were based on the textual study. The previous research lack of a comprehensive analysis of sishengyuan reception. Therefore, this paper is aim to sketched out the image of recognition process of Xuwei ’s Sishengyuan in the Ming and Qing Dynasty. / This paper is divided into seven chapters. The first chapter is the introduction of xuwei sishengyuan, research review and method. In the second chapter, we will analysis sishengyuan’s vulgar culture and xuwei’s concern about the society. The third chapter is sishengyuan’s versions and performance record in the Ming and Qing Dynasty. In the chapter four, we will analysis sishengyuan’s criticism in the Ming and Qing Dynasty. It included Yuan hongdao(袁宏道), Daoist Cheng(澂道人) and other important literati, Also we will use the new discovered details of Daoist Tianfang’s(天放道人) criticism, to find how did he extened the sishengyuan’s value to the social function. The chapter five is the simulated zaju(擬作)during the late Ming the the early Qing. They are Shen zizheng’s(沈自徵) yuyang sannong(《漁陽三弄》) Zhan Tao’s(張韜) xu sishengyuan(《續四聲猿》), Gui Fu’s(桂馥) hou sishengyuan(《後四聲猿》). In this chapter we will find the difference of sishengyuan’s reception between them. The chapter six is a study on the Hong bingwen’s(洪炳文) yuan aoyuan(《懸嶴猿》) in the late Qing. It will focus on how did he deepen the imagery of sisheng yuan to encourage people to save their country. The last chapter is an summary of the sishengyuan’s reception in the Ming and Qing Dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊培紅. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 212-219). / Abstract in Chinese and English. / Yang Peihong. / Chapter 第一章 --- 緒論 / Chapter 第一節: --- 明清雜劇發展史視野下的徐渭《四聲猿》 --- p.P.1 / Chapter 第二節: --- 研究述評 --- p.P.4 / Chapter 第三節: --- 研究動機 --- p.P.10 / Chapter 第四節: --- 研究方法及範圍 --- p.P.11 / Chapter 第二章 --- 《四聲猿》與民間文化、人的關係 / Chapter 第一節: --- 徐渭的戲曲觀 --- p.P.14 / Chapter 第二節: --- 《四聲猿》的民間文化 --- p.P.16 / Chapter 第三節: --- 文人的抒情與寄託 --- p.P.24 / Chapter 第三章 --- 《四聲猿》的明清版本與演出紀錄 / Chapter 第一節: --- 版本介紹 --- p.P.36 / Chapter 第二節: --- 選本及演出紀錄 --- p.P.38 / Chapter 第三節: --- 結語 --- p.P.45 / Chapter 第四章 --- 《聲猿》的明清評點與批評 / Chapter 第一節: --- 袁宏道傳記與評點對《四聲猿》的播作用 --- p.P.46 / Chapter 第二節: --- 孟稱舜對《狂鼓史》與雌木蘭的改評 --- p.P.62 / Chapter 第三節: --- 新發現的天放道人評《四聲猿》及其教化旨趣 --- p.P.68 / Chapter 第四節: --- 澂道人的評點及其生平考證 --- p.P.82 / Chapter 第五節: --- 結語 --- p.P.98 / Chapter 第五章 --- 晚明至清中葉戲曲家對《四聲猿》的仿寫與續作 / Chapter 第一節: --- 沈自徵《漁陽三弄》 --- p.P.99 / Chapter 第二節: --- 張韜《續四聲猿》 --- p.P.121 / Chapter 第三節: --- 桂馥《後四聲猿》 --- p.P.138 / Chapter 第四節: --- 結語 --- p.P.162 / Chapter 第六章 --- 猿啼五聲--清末戲曲家洪炳文《懸嶴猿》研究 / Chapter 第一節: --- 猿啼五聲的創作結構 --- p.P.166 / Chapter 第二節: --- 忠臣護主之鳴 --- p.P.171 / Chapter 第三節: --- 孤臣抗之鳴 --- p.P.176 / Chapter 第四節: --- 懲兇儆奸之鳴 --- p.P.178 / Chapter 第五節: --- 救亡圖存之鳴 --- p.P.181 / Chapter 第六節: --- 女史展墓之鳴 --- p.P.188 / Chapter 第七節: --- 結語 --- p.P.197 / Chapter 第七章 --- 總結 / 附錄
Identifer | oai:union.ndltd.org:cuhk.edu.hk/oai:cuhk-dr:cuhk_328698 |
Date | January 2013 |
Contributors | 楊培紅., Chinese University of Hong Kong Graduate School. Division of Chinese Language and Literature., Yang, Peihong. |
Source Sets | The Chinese University of Hong Kong |
Language | Chinese, English |
Detected Language | English |
Type | Text, bibliography |
Format | electronic resource, electronic resource, remote, 1 online resource (219 leaves) |
Coverage | Ming dynasty, 1368-1644, Qing dynasty, 1644-1912 |
Rights | Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/) |
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