狸猫换太子两个故事系统的并立与融合  

The Coexistence and Integration of Two Stories about Palm Civet for Prince

作　　者：毛劼[1] MAO Jie(Department of Chinese Language and Literature,Peking University,Beijing 100871,China)

机构地区：[1]北京大学中文系

出　　处：《北京社会科学》2019年第7期103-111,共9页Social Sciences of Beijing

摘　　要：与狸猫换太子故事漫长曲折的发展演变相比,无论是“狸猫”情节还是“狸猫换太子”的称谓都是相当年轻的。这一故事最初可划分为以元杂剧《抱妆盒》为源头的忠奸斗争故事系统和以明成化说唱词话《仁宗认母传》为代表的清官公案故事系统。此后二者基于主题上的内在联系及叙事角度上的互补,更在书坊、演出业的推动下实现了融合。在融合演变过程中,戏曲、说唱、小说等不同文体依据自身特性相互吸收和删汰,并在审美趣味、社会时政的多元影响下改写着这个故事。尤其是晚清以来,这一故事在形式多样的舞台上历经创新、拓展,并在当代演出中删繁就简、去芜存菁,其中的得失为当下文艺作品的改编提供了宝贵经验。Compared with the long and tortuous evolution of the Palm Civet for Prince story,the title of“Palm Civet for Prince”and the plot of changing the prince were created very lately.The early literatures belong to two systems,including the loyal and treacherous officials pattern originated from Yuan Zaju play“Dressing Box”,and the court case pattern represented by ballad“Renzong Recognizing Mother”.Thereafter,based on the correlation of themes and the complementarity of narrative angle,the two have achieved integration,affected by publishing and performing as well.During the integration process,different styles such as drama,ballad and novel interacted with each other,and rewrote the story under the multiple influences such as aesthetic tastes and social politics.Especially since the late Qing Dynasty,it has undergone innovation and expansion on various forms of performances,and been simplified and filtered on contemporary stage.Its successes and failures provide valuable experience for the adaptation of literary and artistic works.

关 键 词：狸猫换太子 忠奸斗争 清官公案 戏曲 说唱 小说 

分 类 号：I207[文学—中国文学]