《白兔记》明刻本考辨  

Textual Research on the Ming Dynasty's Versions of TheStoryoftheWhiteRabbit

作　　者：马衍[1] MA Yan(School of Education, Xuzhou Institute of Technology, Xuzhou 221008, Jiangsu, China)

机构地区：[1]徐州工程学院教科院,江苏徐州221008

出　　处：《徐州工程学院学报（社会科学版）》2016年第6期52-57,共6页Journal of Xuzhou Institute of Technology：Social Sciences Edition

基　　金：国家社科基金项目"<六十种曲>研究"(11BB018)成果之一

摘　　要：《白兔记》是"四大南戏"之一,宋元旧本已不存。现存明代《白兔记》全本有三种:成化年间永顺堂刊刻的《新编刘知远还乡白兔记》、万历年间金陵富春堂刊刻的《刘智远白兔记》和明代末年汲古阁刊刻的《绣刻白兔记定本》。富春堂本自成一版本系统,文人的加工改造导致部分情节的前后矛盾,美化刘智远的倾向较为明显。而成化本、汲古阁本为同一版本系统,成化本属于舞台演出本,民间风味较为浓厚,具有质朴的特色,而汲古阁本在保留古本旧貌的同时,经过一些润色,语言表达更为规范,方言特色有所减弱,更加有利于传播。The Story of the White Rabbit is one of the four great works of the Southern Opera,whose versions in Song and Yuan Dynasties are no longer existence.The extant versions of Ming Dynasty have three editions,namely,Yong Shun-tang edition in Cheng Hua period,Fu Chun-tang in Wan Li Period and Ji Gu-ge in the end of the Ming Dynasty.Fu Chun-tang has a style of its own with the tendency of praising Liu Zhi-yuan and thus some contradictories are caused to the plot due to the literati＇s modification of the story.Although the editions of Yong Shun-tang and Ji Gu-ge come from the same original source,the former is simple and unadorned with folk features appealing on stage while the latter has more standard language conducive to spreading with the reduction of local dialect.

关 键 词：《白兔记》 明代刻本 汲古阁本 特点 

分 类 号：I207.39[文学—中国文学]