曾永義Tseng, Yong-yih臺灣大學:中國文學研究所陸方龍Lu, Fang-LongFang-LongLu2010-05-042018-05-292010-05-042018-05-292008U0001-0202200800121100http://ntur.lib.ntu.edu.tw//handle/246246/178534　　明周憲王朱有燉（1379-1439）是中國明代初年重要的雜劇作者，他特殊的藩王身分在中國戲曲史上亦有相當的獨特性，更重要的是，他畢生創作三十一本雜劇且悉數存世，是元明雜劇作者中存世作品最多的一位。且其雜劇之周藩原刻本是現存雜劇刊本中，僅次於《元刊雜劇三十種》的古老刊本，這些劇本之前又多半有序言或引辭自述創作緣由。因此，其生平、著作、創作心路均斑斑可考，可以說是中國戲曲作家中，第一個「完整的個案」，比前此的作家有著完整的面貌，即使與後世作者相較，朱有燉的「完整性」也絲毫不遜色，是足以吸引研究者目光的。本論文即以此作為研究對象。　「緒論」部分主要進行文獻回顧，探討歷代評價的轉變，並由此提出本論文之問題意識。第一章論朱有燉生平與雜劇作品。以朱有燉以及明初周藩際遇為核心，描畫朱有燉的創作心路。繼而由版本學的角度討論述其現存雜劇版本之特色，勾勒朱有燉雜劇傳存的面貌。第二章著眼於朱有燉與明初戲曲史之間的關連性，就外緣論述官方的戲曲政策，以及內緣的倫理觀與文學觀在朱有燉雜劇中的反映。最後概觀元末明初戲曲整體大環境中的劇作家面貌。　第三、四章進入各別作品的討論，以類型批評的方式，概述朱有燉三十一本雜劇的內容，闡述各劇之本事、創作動機、以及劇作家的創作主旨與目的，與改正前編的成果；並據各雜劇之序言或引辭，檢視其創作成果與創作目的是否取得一致性。第三章討論的劇類，主要是元代即已盛行，而發展出一定敘述模式的戲劇類型，包括水滸劇、節義劇、妓女劇、度脫劇。特別是妓女劇與度脫劇與元代雜劇有著極大的不同。朱有燉雜劇中的婦女與妓女常以寧為玉碎、不為瓦全的精神，為求大節而殉死，以證明其貞潔，表現了高度的道德意識。在度脫劇方面，朱有燉作品中的「被度者」往往一心期待成為神仙，一旦度脫者現身度脫，被度者便欣然從之，隨即出現龐大的神仙陣容，在一片歡欣鼓舞的仙樂仙舞中上升天界成為神仙，元雜劇中的入世精神，在此已經不復存在。第四章討論的儀式劇、慶賀劇、賞花劇則更是朱有燉開啟的新典範，特別是慶賀劇與明代宮廷中的教坊編演雜劇有相當明顯的淵源關係。而賞花劇則往往於簡單的情節之中穿插大量、多元的演唱方式、舞蹈形式、調笑科諢，成為熱鬧的歌舞劇。　第五章闡述朱有燉雜劇的表演藝術。對〈村田樂〉、〈十六天魔舞〉、〈十七換頭舞〉、〈青天歌〉等歌舞的淵源進行爬梳，而發現朱有燉的歌舞除了繼承前朝歌舞之外，也融合明代初年所發展出的樂舞。而其劇作夾雜大量科諢，也豐富了作品的趣味性。最後整理其作品中反映的穿戴、砌末，以見當時的藝術水準。第六章討論朱有燉雜劇在體製上的突破及相關問題。腳色運用方面，朱有燉運用的腳色與元刊雜劇相較差異不大，但他打破了一人主唱的慣例，配合劇情需要更自由地運用腳色。又因為朱有燉雜劇的賓白完整，其劇中淨腳相較於賓白不全的元刊雜劇，有著更豐富的表現。論文繼而討論了「全賓」一詞與相關衍申的問題。本文認為元刊雜劇的文本形態基本上屬於一種「幕表戲」的反映，而是一種「單腳本」，也就是僅錄正旦或正末等正腳表演內容的本子。因而朱有燉雜劇中普遍標註的「全賓」一詞，相較於「單腳本」，是一種「全貫串」或「總講本」，也就是完整收錄舞台上各種角色的表演內容的本子。繼而討論北雜劇「曲白先後」的問題，而認為元代雜劇文本的創作，仍可能是一種「先作曲，而賓白由後人添補」的文本。　總的說來，朱有燉可視為北曲雜劇在元代以來的發展過程中，一個具備總結性質的劇作家，完整保存至今的朱有燉雜劇更可提供給研究者許多線索來填補明初戲曲的發展樣態，是戲曲史上一位承先啟後的重要作者。他對於南北曲都抱持著開明的態度，認為南北曲與《詩經》之詩除了古今之別以外有相同的內涵。因而他認真創作雜劇散曲，但又在作品中寄託許多道德觀念，太過強烈的道德意識相當程度抹煞了他的雜劇對於人性的追求，也限制了文學性的成就。另一方面，他是一個藝術家，作品中充滿了歌舞與科諢，打造了許許多多歌舞紛繁的歌舞劇。他作品沾染了時代的氣息，無論是對於明代宮廷雜劇的影響，或者道德觀、文學觀等意識形態均與明初社會觀念聲息相通，反映著雜劇入明以後所表現出與元人迥然有異的獨特意境。相較於元代雜劇被學者深入挖掘、研究，朱有燉以其在元明雜劇轉變中的關鍵與樞紐性的地位，亦有不可抹滅的重要價值。Zhu You-dun (1379-1439), the exemplary prince of Zhou, was a significant playwright in the early Ming Dynasty. Not only did the prince identity made him unique in the Chinese-opera history, he was also, more importantly, the one whose total 31 Zaju plays have been passed down till modern times, the most complete collection among all the playwrights of Yuan Dynasty and Ming Dynasty. Furthermore, among all the printed zaju-play we can see now, with prefaces stating his writing motivations, the original woodblock edition of his plays is the oldest Zaju edition only second to The Thirty Zaju-Plays Printed in Yuan Dynasty. With his life, writings, and writing motivations able to be tracked, he was the first “comprehensive case” of the ancient Chinese-opera writers. This thesis therefore focuses on him and the complete collection of his plays. The Introduction is a literature review, discussing the evaluation transitions from dynasty to dynasty, deriving from this the targeted concern of this study. Chapter 1 first surveys generally the life experience and Zaju plays of Zhu You-dun, by which Zhu’s writing motivations are illustrated. Then, from the perspective of bibliology study and the characteristics of the preserved zaju-play editions, the preservation facetsof Zhu’s Zaju plays is discussed. Chapter 2 covers the connections between Zhu You-dun and the Chinese-opera history in the early Ming Dynasty, reflecting both from exteriorly the official policies on Chinese operas and interiorly the ethics and literature, including an overview on the playwrights of the late Yuan Dynasty and early Ming Dynasty includ. Chapter 3 and 4 discusses Zhu’s 31 plays respectively, categorizing these plays by its contents, elaborating plots, Zhu’s writing motivations, and his modificatory fruitage, and, through the prefaces of each play, inspecting the correspondence between his writing achievements and motivations. Plays covered in Chapter 3 belong to the categories which, in Yuan Dynasty, had prospered and developed fixed narrating styles, inclusive of plays of Liang-shan Marsh Outlaws, loyalty plays, prostitution plays, and deliverance plays. Zhu’s plays of the latter two categories were especially different from their Yuan precedents. The women and prostitutes in Zhu’s plays were often with extreme moral courage, willing to die to prove their own virtue. On the other hand, the personage in Zhu’s deliverance plays often keenly expected to become the immortal. Once the delivering missionary appeared, they would obey enthusiastically, followed by a great band of gods joyfully welcome them to join them in heaven, which was quite contrary to the humane commitment shown in Zaju plays of Yuan Dynasty. The ritual plays, celebrations plays, and flower-watching plays were actually new norms set by Zhu You-dun. While celebration plays showed obvious connection to the plays written by court entertainment bureau of the Ming Monarchy, the flower-watching plays were somewhat like hilarious musicals containing abundant singing, dancing, and humor. Chapter 5 discusses the performance art presented in Zhu You-dun’s Zaju plays. By going through the development of dances, such as Seventeen Variations Dance, Dance of Mara’s Sixteen Daughters, and The Band of Happy Villagers Singing a Song of Contentment, we can find that dancing scenes in Zhu’s plays infused the choreography of the early Ming Dynasty as well as inherited that of the Yuan Dynasty. And the buffoonery in the plays well spiced his works. Chapter 5 also tries to record the costumes and properties in his plays so that we can have a glimpse at the artistic criteria at that time. The following chapter is about the writing conventions and breakthrough of Zhu’s plays. The role-types Zhu exerted were basically similar to Yuan Zaju plays; however, he broke the convention of a sole leading singer from Yuan Dynasty so that he could arrange role-types at his will to go with the plots. Compared with the incomplete prose dialogues in zaju-play scripts of Yuan Dynasty, Zhu’s full device of prose dialogues made the Jing actors acquire more performing space. Then there follows the problems originated from the term “quan-bin (full prose dialogues).” This thesis holds the point of view that the Zaju plays printed in Yuan Dynasty were scripts more like “scenario drama,” a kind of scripts for the leading male and female only. Therefore, the commonly noted term “quan-bin” in Zhu’s plays makes it clear that his play scripts were more like “quan-guan-chuan” or “zong-jiang-ben,” scripts fully contains the lines of all roles. From this, it can be inferred that the play-writing process in Yuan Dynasty might begin with verses, with the prose dialogues added gradually by others. Generally speaking, Zhu You-dun was both a follower and pioneer in the development of Zaju plays. Although he instilled too much morals into his plays, which lessened his humanity concern and literature achievement, those plays infused with dancing, singing, and humor still made him an artist of his time.摘要 Ibstract III　錄 i　論　文獻回顧與問題意識 1一節　文獻回顧 2、明清時期 2、二十世紀前中葉 4、臺灣與國際漢學界 7、八○年代後的中國大陸 10二節　問題意識 15、藩王身分與宮廷演劇 16、劇場與文學的藝術表現 17、戲曲史上的意義 19一章　朱有燉之生平與作品 21一節　朱有燉生平與周藩際遇 21、洪武時期 22、建文削藩及永樂靖難 24、永樂時期 27、藩王生涯 31二節　現存朱有燉雜劇的版本 38、原刊本 38、晚明刻本 44、明鈔本 50、其他版本 52二章　明初戲曲之背景 61一節　明初的戲曲環境 61、帝王的愛好 61、教坊司與樂戶 65、宮廷演劇與南北曲的地位 78二節　敷陳教化與歌功頌德 89、戲曲風教觀 89、文以明道與歌詠太平 93、雅頌傳統與朱有燉的戲曲理論 96三節　劇作家概況 103三章　朱有燉雜劇述評（上） 112一節　朱有燉雜劇的題材內容及其分類 114二節　水滸劇、節義劇及其他 119、《豹子和尚》 119、《仗義疏財》 121、《義勇辭金》 124、《喬斷鬼》 125、《繼母大賢》 128、《團圓夢》 131三節　妓女劇 136、《復落娼》 136、《香囊怨》 140、《曲江池》 143、《桃源景》 148一、《慶朔堂》 150二、《烟花夢》 152四節　度脫劇 154三、《悟真如》 154四、《小桃紅》 156五、《半夜朝元》 157六、《神仙會》 159七、《十長生》 161八、《常椿壽》 161四章　朱有燉雜劇述評（下） 164一節　儀式劇 164九、《降獅子》 164十、《辰鈎月》 166一、《仙官慶會》 171二節　慶賀劇 174二、《得騶虞》 174三、《靈芝慶壽》 176四、《蟠桃會》 177五、《八仙慶壽》 178三節　賞花劇 179六、《海棠仙》 179七、《賽嬌容》 181八、《牡丹園》 182九、《牡丹品》 183十、《牡丹仙》 184一、《踏雪尋梅》 186五章　朱有燉雜劇的表演藝術 191一節　朱有燉雜劇的科諢與歌舞場面 191二節　朱有燉雜劇的歌舞表演及其淵源 195、鼓腹謳歌村田樂 195、青天歌 198、十六天魔舞 203、十七換頭舞 206、其他 211六章　體製及其相關問題 215一節　朱有燉雜劇中的腳色 215二節　「全賓」與雜劇曲白的問題 227、「賓」與「全賓」 227、元雜劇賓白作者的問題 232、元雜劇賓白由後人添作的可能性 240、小結 247三節　對雜劇體製的引申思考 248、四段與分折 248、對於楔子意義的補充 252論 255錄一：序引彙編 262錄1-1　朱有燉雜劇自序引辭 262. 〈張天師明斷辰鈎月引〉 262. 〈春風慶朔堂傳奇引〉 262. 〈惠禪師三度小桃紅引〉 263. 〈神后山秋獮得騶虞傳奇引〉 263. 〈李亞仙花酒曲江池引〉 264. 〈關雲長義勇辭金傳奇引〉 265. 〈李妙清花裡悟真如引〉 266. 〈群仙慶壽蟠桃會引〉 266. 〈新編洛陽風月牡丹仙引〉 2660. 〈美姻緣風月桃源景傳奇引〉 2671. 〈天香圃牡丹品傳奇引〉 2672. 〈踏雪尋梅引〉 2673. 〈瑤池會八僊慶壽引〉 2684. 〈黑旋風仗義疏財傳奇引〉 2685. 〈貞姬身後團圓夢傳奇引〉 2686. 〈劉盼春守志香囊怨序〉 2697. 〈豹子和尚自還俗傳奇引〉 2698. 〈紫陽仙三度常椿壽引〉 2709. 〈繼母大賢傳奇引〉 2700. 〈呂洞賓花月神仙會引〉 2701. 〈詠懷慶海棠嶺上海棠花吟〉 2712. 〈河嵩神靈芝慶壽傳奇引〉 2723. 〈搊搜判官喬斷鬼傳奇引〉 2724. 〈烟花夢傳奇引〉 2725. 〈小天香半夜朝元引〉 273錄1-2　朱有燉詩文散曲自序引辭 273. 〈誠齋牡丹百詠詩引〉 273. 〈誠齋梅花百詠詩序〉 274. 〈誠齋玉堂春百詠引〉 274. 〈誠齋樂府引〉 274. 【南仙呂入雙調四朝元】小序 275. 【北正宮‧白鶴子】〈詠秋景〉引 275. 【南南呂楚江情】〈四時詞〉引 276. 【北雙調掃晴娘】引辭 276. 【北越調柳營曲】（即寨兒令）〈詠風月擔兒〉引 2760. 【北正宮醉太平】〈醉鄉詞二十篇〉引 2761. 【北正宮端正好】〈苦雨有感憫農制正宮一曲有引〉 276錄二：研究資料拾遺 278. 朱睦㰂〈誠齋集序〉 278. 周敬王朱在鋌〈重刊誠齋錄序〉 279. 陳鱣〈牡丹百詠序記〉 279. 黃丕烈〈牡丹百詠題記〉 279. 黃丕烈〈跋牡丹百詠〉 280. 王國維〈張天師明斷辰鉤月後記〉 280. 李葆恂《周憲王刻古今雜劇十種》題記之一 281. 李葆恂《周憲王刻古今雜劇十種》題記之二 281考資料 283application/pdf3399370 bytesapplication/pdfen-US周憲王朱有燉誠齋雜劇誠齋樂府誠齋傳奇明初戲曲史雜劇Zhou Xian-Wang(the exemplary prince of Zhou)Zhu You-dunCheng-zhai Yue-fuCheng-zhai ZajuCheng-zhai Chuan-qiChinese-Opera History of the early Ming Dynastyzaju(variety plays)thesishttp://ntur.lib.ntu.edu.tw/bitstream/246246/178534/1/ntu-97-R91121011-1.pdf