事必丽情,音必谐曲——论臧懋循对元杂剧的校改  

Narration Accords With Emotion,Rhyme Conforms to Melody:Research on Zang Maoxun’s Revision of Yuan Zaju

作　　者：陈妙丹 谢雪怡 CHEN Miao-dan;XIE Xue-yi(College of Liberal Arts,Shantou University,Shantou,Guangdong 515063)

机构地区：[1]汕头大学文学院,广东汕头515063

出　　处：《汕头大学学报（人文社会科学版）》2022年第2期21-27,94,共8页Journal of Shantou University(Humanities and Social Sciences Edition)

基　　金：国家社会科学基金一般项目“中原音韵与元明清曲韵学的兴变研究”(18BZW065);汕头大学科研启动经费项目“元明清曲选与曲学的兴变”(STF20002);数字人文与新文科建设培育项目“基于古籍数字化技术的明刊北杂剧选本研究”(2021DH-6)。

摘　　要：晚明曲家臧懋循编选《元曲选》时,在叙事方面补充了别本交代不清的情节,修改别本存在的相互矛盾之处;在道德伦理层面完善人物性格,使其符合正统士大夫审美观;在用韵方面以元人周德清《中原音韵》为准则重新修改韵字,避免重韵和出韵;从个别字词的微调到大刀阔斧的改写在很大程度上体现出臧氏“事必丽情,音必谐曲”的戏曲观念。In terms of narrative,Zang Maoxun not only complemented the plots and modified the contradictory statements,but also made the role’s characters conform to the aesthetic values of Confucian during compiling Yuanqu Xuan.Zang Maoxun regarded harmony of rhyme as important.He tried to restore the traditional northern rhyme,so widely revised the rhyme to avoid repeating the rhyming words or out of the rhyme by taking Zhongyuan Yinyun as the standard.Both the fine-tuning of individual words and the drastic rewriting of his words reflected his concept of opera.

关 键 词：元杂剧 校改 臧懋循 叙事 用韵 

分 类 号：I207.3[文学—中国文学]