弹词《娇红传》与许廷录传奇《两钟情》对孟称舜《娇红记》的改编  

The Adaptation of Meng Chengsun’s Jiao Hong Ji in the Tanci Jiao Hong Zhuan and Xu Tinglu’s Legend Liang Zhongqing

作　　者：吕夙婉 LV Suwan(College of Humanities,Zhejiang Normal University,Jinhua 321004,China)

机构地区：[1]浙江师范大学人文学院,浙江金华321004

出　　处：《苏州教育学院学报》2025年第2期86-94,共9页Journal of Suzhou College of Education

基　　金：金华市社会科学界联合会青年专项课题项目(ZD202368)。

摘　　要：弹词《新镌后玉蜻蜓娇红传》在孟称舜《节义鸳鸯冢娇红记》的基础上扩展了社会背景、人物情节,语言风格、场面描写、情感主题等方面都迎合了普通受众的欣赏需求。其中女性人物的英雄化、民间信仰的复杂化、语言表达的通俗化给了“申娇”爱情故事题材一个特别的展现形式,也使许廷录《两钟情》所提倡的家国、亲友之间的“情之极”真正得以呈现。但孟称舜本就不够彻底的“情至”论自由爱情观念在弹词版中出现了倒退趋势,令娇娘与飞红的形象更加符合封建道德女性规范,这反映了当时女性意识的发展状况与理想女性形象的变化。The Tanci Newly-engraved Jade Dragonfly Jiao Hong Zhuan expands the social background and character plots based on Meng Chengsun’s The Loyal and Righteous Mandarin Ducks’Tomb Jiao Hong Ji.Its language style,scene descriptions,and emotional themes cater to the aesthetic demands of the general audience.The heroization of female characters,the complexity of folk beliefs,and the popularization of language expression provide a unique showcase for the“Shen Jiao”love story genre and enable Xu Tinglu’s Liang Zhongqing to truly present the“ultimate emotion”between family,country,and friends.However,the true love concept in Meng Chengsun’s incomplete“ultimate emotion”theory shows a regressive trend in the Tanci version,making Jiao Niang and Fei Hong’s images more in line with feudal moral norms for women.This reflects the development of female consciousness and the transformation of the ideal female image at that time.

关 键 词：孟称舜 “申娇”爱情故事 传奇 弹词 

分 类 号：J826[艺术—戏剧戏曲]