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作 者:邹宗良[1] ZOU Zong-liang(School of literature,Shandong University,Jinan 250100,China)
出 处:《蒲松龄研究》2021年第1期102-122,共21页Study on Pu Songling
基 金:山东大学2018年人文社会科学重大研究项目“聊斋全集文献整理与研究”(项目编号:18RWZD07)的阶段性成果。
摘 要:题署“蒲松龄遗作”的天山阁本《琴瑟乐曲》自20世纪30年代开始流传,但1923年天津《大公报》连载的《闺艳秦声》题作“古高阳西山樵子谱,齐长城外饼伧氏批”,与其内容大致相同。本文考辨天山阁本《琴瑟乐曲》后附的“高念东跋”为改窜《闺艳秦声》后附《评》而成,《琴瑟乐曲》文本亦出自后人伪托,作伪者即天山阁本《琴瑟乐曲》的钞录者王丰之其人。Tianshan Pavilion version of Qin Se musical compositions that claimed it was a missing literary work by Pu Songling,started prevailing among the world since 1930s.However,Guiyan Qinsheng published in the Tianjin Dagong Newspaper in the year of 1923 contains the same content with a topic“composed by a woodcutter lived in ancient Gaoyang Mountain Xi,commented by Bingcang Shi lived in outside Qi Greatwall”as Qin Se musical compositions.This present text distinguishes that the attachment at end of the Qin Se musical compositions were rewritten by the postscripts written by Gao Niandong at the end of Guiyan Qinsheng.Moreover,the one who forged the text Qin Se musical compositions as a piece of Pu song’s literary work is the copier of Qin Se musical compositions——Wang Fengzhi.
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