毛晋的名剧意识与《六十种曲》之编纂  

Mao Jin’s Emphasis on Celebrated Drama and the Compilation of Sixty Plays

作　　者：刘建欣[1] Liu Jianxin(the School of Literature at Heilongjiang University,Harbin 150080,Heilongjiang Province,China)

机构地区：[1]黑龙江大学文学院,150080

出　　处：《文艺理论研究》2021年第3期166-175,共10页Theoretical Studies in Literature and Art

基　　金：国家社会科学基金青年项目“明清戏曲选本研究”[项目编号:16CZW029]的阶段性成果。

摘　　要：明末清初毛晋对名家名作非常重视,《六十种曲》的编选中即体现出鲜明的名剧意识。其中收录了晚明时期已经完成经典化的《西厢记》《琵琶记》等元代名剧,还囊括了在传播与接受过程中迅即成为名剧的《牡丹亭》等当代作品。《西楼记》《飞丸记》等"潜在"名剧的选择,符合毛晋一贯对珍本、秘本的追求,更彰显了其对"名剧"内在特征和标准的深刻理解。名剧意识透视出毛晋的文人情怀及其戏曲观念,其中对主情与教化、场上与案头、文采与本色的认知与选择是晚明汤沈之争后戏曲观念走向共识的重要体现,也是对晚明戏曲创作、观演风尚的集中反映。In the late Ming and early Qing dynasty, Mao Jin paid much attention to celebrated works, which was embodied in the selection and compilation of his Sixty Plays. It included the classic dramas of the Yuan dynasty such as Romance of the Western Chamber and Tale of the Pipa, which had been canonized since the late Ming dynasty. The book also included more contemporary works such as The Peony Pavilion, which became noted as they were circulated among greater audiences. The selection of "potentially" famous dramas such as Xilou Ji and Feiwan Ji was in line with Mao Jin’s consistent pursuit of rare and secret editions, and manifested his deep understanding of the internal characteristics and standards of celebrated dramas. Mao Jin’s attentiveness to celebrated dramas reflected his sentimentality as a literato as well as his conception of drama. His perception of lyricism and didacticism, textual reading and stage performance, as well as wencai(literary grace) and bense(true qualities) were important embodiment of shared understanding about drama after the controversy between Tang Xianzu and Shen Jing in the late Ming dynasty. Such predispositions were also collectively reflected in the dramatic production and fashion of performance during the late Ming dynasty.

关 键 词：毛晋 《六十种曲》 名剧意识 晚明戏曲 

分 类 号：I207.37[文学—中国文学]