《獅吼記》研究

Abstract

《獅吼記》是一部結合史料文獻、文人筆記與民間傳說的傳奇作品。敘說宋人陳季常與其奇絕悍妬之妻柳氏的懼內故事。這部看似演繹滑稽笑鬧之喜劇，實則承載中國文士社會極為悠久的家庭倫理議題。然而，自明末周暉作《續金陵瑣事》首揭《獅吼記》作者異說後，學界對該傳奇之探討，或僅聚焦作者辨疑，或著意人物塑造、戲劇張力等，惜未能深入戲曲核心的藝術價值。本文針對《獅吼記》之主題思想、曲文格律、舞臺實踐之接受與傳播，進行多面向的探討。 首先辨析劇作者之質疑。本文就徐朔方「汪氏作品帶有自傳性色彩」之論點，分析現存汪廷訥之傳奇文本，舉證補足徐氏未竟闡論之遺意。藉此跳脫作者爭議課題，長期以來僅以曲籍存目之作者標示作為論據之窠臼，並進一步藉知人論世以剖釋作者對家庭亂源的省思。 有關《獅吼記》之本事溯源，歷來學者（包括日本漢學家青木正兒）或就清人輯錄之宋人百家小說《調謔篇》，或據東坡古詩〈寄吳德仁兼簡陳季常〉而立論，然經史料、文獻考證《獅吼記》中之人物關係，如陳慥懼內、柳氏悍妬、秀英為東坡贈季常之妾室等，皆與史實迥異。本論文進而推闡《獅吼記》故事骨幹當源自南宋洪邁《容齋隨筆》於「陳季常」條目的編造。 至於「《獅吼記》之創作美學」，本論文專章探討學界尚未關注之《獅吼記》曲韻與排場等核心論題。透過系統化的檢韻功夫，及有理有據的排場理論，評析《獅吼記》成為經典劇作的具體條件。文末另附《獅吼記》各齣用韻表，供查索參照。此外，「《獅吼記》舞臺實踐之繼承及改編」一章，則梳理洎明以降，歷清代迄今，《獅吼記》在全本戲和折子戲的劇本改編下，其表演於宮廷／民間、雅部崑曲／花部地方戲之不同傳演進程。其間《獅吼記》之柳氏原以捲袖閨門旦應工，其於各崑劇院團與花部之演繹亦另作評析，藉以建立較為全面而客觀之《獅吼記》研究。Shih Hou Chi is a legendary piece of work that combines historical documents, literati's notes and folklores. It describes the henpecked story of Chi-Chang Chen, a man in the Song Dynasty, and his extremely arrogant and jealous wife, Mrs. Liu. This piece of work appears to be a comedy, but in fact, conveys an extremely long-standing family ethics issue in the Chinese literati society. However, since Hui Chou in the late Ming Dynasty created “The Sequel to the Trivia of Jinling,” which first discloses the different stand and statement of the author of Shih Hou Chi, the academic circles’ discussion on this legendary opera only focuses on dispelling doubts, or rather on character creation, operatic tension, etc. It is a pity that the academic circle fails to perform an in-depth exploration on the core artistic value of the opera. This study performs a multi-faceted discussion on the acceptance and dissemination of the thematic idea, rhythm, and stage practice of Shih Hou Chi. First, this paper analyzes the doubts about the author. According to the argument “Wang’s works are autobiographical” proposed by Shuo-Fang Hsu, this paper analyzes the existing legendary texts of Ting-Na Wang and provides evidence to supplement Hsu’s remaining meaning which was not discussed. This study breaks away from the stereotype of controversial topic about the author - that is, for a long time, only the authorship of the opera books is used as the theoretical basis. It further analyzes the author’s reflections on the origins of family chaos by discussing the background of historical figures, in order to understand them. Regarding the origin of Shih Hou Chi, scholars (including Japanese sinologist Aoki Masaru) have made arguments based on the “Tiaonue Chapter” of Song novels compiled by scholars in the Qing Dynasty or based on Dong-Po Su’s ancient poem “Dedicated to De-Ren Wu and Brief Introduction to Chi-Chang Chen.” However, according to historical materials and textual research, this paper explores the relationships between the characters in Shih Hou Chi, such as Zhen Chen’s henpecking, Liu’s strong jealousy, and Hsiuying’s identity as a concubine sent to Chi-Chang from Dongpo, etc., all of which are widely different from the historical facts. This study further infers that the main plot of Shih Hou Chi should originate from the fabrication of the “Chi-Chang Chen” in “Rong Zhai Essays” by Mai Hong in the Southern Song Dynasty. In terms of “Shih Hou Chi's creative aesthetics,” this paper explores core topics such as the rhyme and spectacle of Shih Hou Chi that the academic circle has not yet paid attention to. Through a systematic examination of the rhyme, as well as a well-founded theory of spectacle, this paper evaluates and analyzes the specific conditions for Shih Hou Chi to become a classic opera. At the end of the paper, a rhyme table for each of Shih Hou Chi's plays is attached for reference. Moreover, the chapter “Inheritance and Adaptation of Shih Hou Chi’s Stage Practice” explores the different transmission processes of how the adapted play and excerpts of Shih Hou Chi scripts from the Ming Dynasty, Qing Dynasty to the present were performed in the court/folk, Yabu Kunqu Opera/Huabu Local Opera. In the play, Liu in the Shih Hou Chi was originally portrayed as a sleeping-rolling maiden dan (character role of an unmarried young girl). The performance of this role by various Kunqu Opera troupes and Huabu is also separately analyzed in order to establish a more comprehensive and objective investigation of Shih Hou Chi.