论李渔的《十种曲》
摘要
李渔及其作品的研究近年来已成为学术研究的热点之一。在以往的李渔研究中，学者们普遍对李渔的戏曲理论，即《闲情偶寄》中的词曲部和演习部，予以了极高的评价，认为它是中国戏曲理论史上划时代的杰作。而李渔的戏曲创作《十种曲》，却长期被定位于二流喜剧作品的地位，遭到种种忽视与轻视。甚至有人直截了当地称李渔为：理论的巨人，创作的矮子。
在这种理论与创作极度不平衡的关系中，本文试图从一个新的视角，即中国古代戏曲发展史的角度，去看待李渔的《十种曲》。由于中国古代强大的诗歌传统的制约，几乎所有由诗转化而来的艺术样式最终都会走向对诗的回归。戏曲艺术同样如此。表现在戏曲发展史上，中国古代戏曲经历了一个由俗而雅，由场上逐渐转向案头的过程。这种转化使中国古代戏曲逐渐丧失了“戏”的本质特征，而表现出越来越浓厚的曲化倾向。而李渔的《十种曲》，却以种种鲜明的当行特色，全力纠正了这种倾向，使中国古代戏曲中长期失落的“戏”的意识重新觉醒。这正是李渔的《十种曲》对中国古代戏曲作出的独特的贡献。
此外，对于《十种曲》艺术的完美与思想的低下，前人也多有评论。本文试图在《十种曲》的艺术成就之外，探讨它的一些缺憾与不足。在它总体趋于平庸的思想之下，挖掘它的一些可取之处。总之，从更为客观，全面，公允的角度去看待李渔的《十种曲》，是本文所致力的追求。
The research of Li Yu and his works has become one hot topic of the academic researches in recent years. In the past researches on Li Yu, the scholars generally gave very high evaluation on his traditional opera theory that is the word and
tune section and the performance section of the work------leisurely
mood written by chance. And it was considered a epoch-making masterpiece in the history of the Chinese traditional opera theory. But, for a very long time, the Ten kinds of Tune Li Yu's traditional opera creation has been deemed a second comedy works and been neglected and despised. Even some scholars straight forwards called Li Yu a giant on theory and a dwarf on creation.
In this extremely imbalanc relation of theory and creation, the thesis tries to apperceive Li Yu's Ten kinds of Tune in a new
point of view------the Chinese ancient traditional opera development
history. Being strongly restricted by the Chinese ancient poem tradition, almost all forms of art being transformed from the poem would return to poem. And the same as the traditional opera art. The manifestation is that the Chinese ancient traditional opera has experienced a course from vulgarity to refinement and from on stage to on desk in its development history. The transformation made the Chinese ancient traditional opera gradually lost its essence character of performance and showed stronger and stronger dramatization tendency. But Li Yu's Ten kinds of Tune corrected this tendency with all efforts in many kinds of distinct professional characteristics, and made the consciousness of "performance" awaken that was lost in the Chinese ancient traditional opera for a long time. And it was rightly peculiar contribution for the Chinese ancient traditional opera made by Li Yu's Ten kinds of Tune.
In addition, many scholars have commented the perfection of art and the art and the inferiority of thought on Ten kinds of Tune. This thrsis tries to probe its defects and shortcomings besides its artistic achievement and explore something desirable under its commonplace idea on the whole. In a word, this thesis wants to apperceive Li Yu's The kinds of Tune in a more objective, comprehensive and impartial point of view.
在这种理论与创作极度不平衡的关系中，本文试图从一个新的视角，即中国古代戏曲发展史的角度，去看待李渔的《十种曲》。由于中国古代强大的诗歌传统的制约，几乎所有由诗转化而来的艺术样式最终都会走向对诗的回归。戏曲艺术同样如此。表现在戏曲发展史上，中国古代戏曲经历了一个由俗而雅，由场上逐渐转向案头的过程。这种转化使中国古代戏曲逐渐丧失了“戏”的本质特征，而表现出越来越浓厚的曲化倾向。而李渔的《十种曲》，却以种种鲜明的当行特色，全力纠正了这种倾向，使中国古代戏曲中长期失落的“戏”的意识重新觉醒。这正是李渔的《十种曲》对中国古代戏曲作出的独特的贡献。
此外，对于《十种曲》艺术的完美与思想的低下，前人也多有评论。本文试图在《十种曲》的艺术成就之外，探讨它的一些缺憾与不足。在它总体趋于平庸的思想之下，挖掘它的一些可取之处。总之，从更为客观，全面，公允的角度去看待李渔的《十种曲》，是本文所致力的追求。
The research of Li Yu and his works has become one hot topic of the academic researches in recent years. In the past researches on Li Yu, the scholars generally gave very high evaluation on his traditional opera theory that is the word and
tune section and the performance section of the work------leisurely
mood written by chance. And it was considered a epoch-making masterpiece in the history of the Chinese traditional opera theory. But, for a very long time, the Ten kinds of Tune Li Yu's traditional opera creation has been deemed a second comedy works and been neglected and despised. Even some scholars straight forwards called Li Yu a giant on theory and a dwarf on creation.
In this extremely imbalanc relation of theory and creation, the thesis tries to apperceive Li Yu's Ten kinds of Tune in a new
point of view------the Chinese ancient traditional opera development
history. Being strongly restricted by the Chinese ancient poem tradition, almost all forms of art being transformed from the poem would return to poem. And the same as the traditional opera art. The manifestation is that the Chinese ancient traditional opera has experienced a course from vulgarity to refinement and from on stage to on desk in its development history. The transformation made the Chinese ancient traditional opera gradually lost its essence character of performance and showed stronger and stronger dramatization tendency. But Li Yu's Ten kinds of Tune corrected this tendency with all efforts in many kinds of distinct professional characteristics, and made the consciousness of "performance" awaken that was lost in the Chinese ancient traditional opera for a long time. And it was rightly peculiar contribution for the Chinese ancient traditional opera made by Li Yu's Ten kinds of Tune.
In addition, many scholars have commented the perfection of art and the art and the inferiority of thought on Ten kinds of Tune. This thrsis tries to probe its defects and shortcomings besides its artistic achievement and explore something desirable under its commonplace idea on the whole. In a word, this thesis wants to apperceive Li Yu's The kinds of Tune in a more objective, comprehensive and impartial point of view.
引文
1．孙楷第．李笠翁与十二楼．李渔全集第二十卷
2．朱东润．李渔戏剧论综述．李渔全集第二十卷
3．杜书瀛．李渔论戏剧导演．李渔全集第二十卷
4．黄天骥．论李渔的思想和剧作．李渔全集第二十卷
5．徐朔方．论十种曲．李渔全集第二十卷
6．李元贞．李渔十种曲与其曲论的一致性．李渔全集第二十卷
7．[日]冈晴夫．李渔的戏曲及其评价．李渔全集第二十卷
8．[美]韩南．创造一个自我．李渔全集第二十卷
9．[美]埃里克·亨利．李渔：站在中西喜剧的交叉点上．李渔全集第二十卷
10．杨绛．李渔论戏剧结构．文学研究集刊，第一辑，1964
11．彭骏．语求肖似——李渔论人物语言．广州文艺，1979(10)
12．杜书瀛．李渔论戏剧真实．文学遗产，1980(1)
13．肖荣．李渔戏剧理论的成就和局限性．杭州大学学报，1980(4)
14．陈多．李渔“脱窠臼”译释．上海戏剧，1980(4)
15．沈默．以舞台为中心的编剧学——谈李笠翁曲话．戏文，1981(1)
16．吴国钦．理论的巨人，创作的矮子——论李渔戏剧艺术资料1981(4)
17．彭俊．传情、肖似、吸引力——李渔论戏曲宾白南国戏剧，1981(10)
18．杜书瀛．李渔论戏剧结构．美学论丛，1982(4)
19．王良惠．李渔的创新之论．松辽学刊，1984(1)
20．潘戈．论李渔“结构第一”的内涵．彭城大学学报，1987(1)
21．李建南．浅析李渔剧作观的辨证特色．剧海，1987年4月
22．俞为民．论李渔的戏曲创作．南京大学学报，1989(4)
23．杜卫．李渔的戏曲综合整体观．戏剧，1991(2)
24．[日]冈晴夫．李笠翁的戏曲与歌舞伎．地方戏艺术，1992(3)
25．张振均．莎士比亚与李渔比较研究二题中国人民大学学报 1992(6)
26．许罡．李渔：新旧文化撞击的产儿：试评李渔生平思想江苏社会科学，1993(1)
27．沈新林．稗官为传奇蓝本：李渔小说戏曲比较研究之一明清小说研究，1992(3)
28．黄强．探寻完整而又符合历史真实的李渔形象：单锦珩李渔研究述评．浙江师大学报．社科版，1993(1)
29．徐保卫．李渔的选择．明清小说研究，1994(1)
30．张成全．李渔创作的商品化倾向．殷都学刊，1996(1)
31．郭英德．稗官为传奇蓝本：论李渔小说戏曲的叙事技巧文学遗产，1996(5)
32．李献芳、陈来振．李渔和他的戏曲创作．语文函授，1997(2)
33．钟明奇．李渔情爱心理的文化哲学探析．中国文学研究，2000(2)
1．李渔全集．杭州：浙江古籍出版社，1992
2．杜书瀛：论李渔的戏剧美学．北京：中国社会科学出版社，1982
3．肖荣：李渔评传．杭州：浙江文艺出版社，1985
4．单锦珩：李渔传．成都：四川文艺出版社，1986
5．俞为民：李渔闲情偶寄曲论研究．南京：江苏教育出版社，1994
6．俞为民：李渔评传．南京：南京大学出版社，1996
7．沈新林：李渔新论．苏州：苏州大学出版社，1997
8．沈新林：李渔评传．南京：南京师范大学出版社，1998
9．杜书瀛：李渔美学思想研究．北京：中国社会科学出版社，1998
10．郭英德：明清文人传奇研究．北京：北京师范大学出版社，1992
11．郭英德：明清传奇史．南京：江苏古籍出版社，1999
12．[英]阿契尔：剧作法．北京：中国戏剧出版社，1964
13．[英]马丁·艾思林：戏剧剖析．北京：中国戏剧出版社，1981
14．[苏]霍洛道夫：戏剧结构．上海：华东师范大学出版社，1981
15．[德]吉斯塔夫·弗莱塔克：论戏剧情节上海：上海译文出版社，1981
16．[美]乔治·贝克：戏剧技巧．北京：中国戏剧出版社，1985
2．朱东润．李渔戏剧论综述．李渔全集第二十卷
3．杜书瀛．李渔论戏剧导演．李渔全集第二十卷
4．黄天骥．论李渔的思想和剧作．李渔全集第二十卷
5．徐朔方．论十种曲．李渔全集第二十卷
6．李元贞．李渔十种曲与其曲论的一致性．李渔全集第二十卷
7．[日]冈晴夫．李渔的戏曲及其评价．李渔全集第二十卷
8．[美]韩南．创造一个自我．李渔全集第二十卷
9．[美]埃里克·亨利．李渔：站在中西喜剧的交叉点上．李渔全集第二十卷
10．杨绛．李渔论戏剧结构．文学研究集刊，第一辑，1964
11．彭骏．语求肖似——李渔论人物语言．广州文艺，1979(10)
12．杜书瀛．李渔论戏剧真实．文学遗产，1980(1)
13．肖荣．李渔戏剧理论的成就和局限性．杭州大学学报，1980(4)
14．陈多．李渔“脱窠臼”译释．上海戏剧，1980(4)
15．沈默．以舞台为中心的编剧学——谈李笠翁曲话．戏文，1981(1)
16．吴国钦．理论的巨人，创作的矮子——论李渔戏剧艺术资料1981(4)
17．彭俊．传情、肖似、吸引力——李渔论戏曲宾白南国戏剧，1981(10)
18．杜书瀛．李渔论戏剧结构．美学论丛，1982(4)
19．王良惠．李渔的创新之论．松辽学刊，1984(1)
20．潘戈．论李渔“结构第一”的内涵．彭城大学学报，1987(1)
21．李建南．浅析李渔剧作观的辨证特色．剧海，1987年4月
22．俞为民．论李渔的戏曲创作．南京大学学报，1989(4)
23．杜卫．李渔的戏曲综合整体观．戏剧，1991(2)
24．[日]冈晴夫．李笠翁的戏曲与歌舞伎．地方戏艺术，1992(3)
25．张振均．莎士比亚与李渔比较研究二题中国人民大学学报 1992(6)
26．许罡．李渔：新旧文化撞击的产儿：试评李渔生平思想江苏社会科学，1993(1)
27．沈新林．稗官为传奇蓝本：李渔小说戏曲比较研究之一明清小说研究，1992(3)
28．黄强．探寻完整而又符合历史真实的李渔形象：单锦珩李渔研究述评．浙江师大学报．社科版，1993(1)
29．徐保卫．李渔的选择．明清小说研究，1994(1)
30．张成全．李渔创作的商品化倾向．殷都学刊，1996(1)
31．郭英德．稗官为传奇蓝本：论李渔小说戏曲的叙事技巧文学遗产，1996(5)
32．李献芳、陈来振．李渔和他的戏曲创作．语文函授，1997(2)
33．钟明奇．李渔情爱心理的文化哲学探析．中国文学研究，2000(2)
1．李渔全集．杭州：浙江古籍出版社，1992
2．杜书瀛：论李渔的戏剧美学．北京：中国社会科学出版社，1982
3．肖荣：李渔评传．杭州：浙江文艺出版社，1985
4．单锦珩：李渔传．成都：四川文艺出版社，1986
5．俞为民：李渔闲情偶寄曲论研究．南京：江苏教育出版社，1994
6．俞为民：李渔评传．南京：南京大学出版社，1996
7．沈新林：李渔新论．苏州：苏州大学出版社，1997
8．沈新林：李渔评传．南京：南京师范大学出版社，1998
9．杜书瀛：李渔美学思想研究．北京：中国社会科学出版社，1998
10．郭英德：明清文人传奇研究．北京：北京师范大学出版社，1992
11．郭英德：明清传奇史．南京：江苏古籍出版社，1999
12．[英]阿契尔：剧作法．北京：中国戏剧出版社，1964
13．[英]马丁·艾思林：戏剧剖析．北京：中国戏剧出版社，1981
14．[苏]霍洛道夫：戏剧结构．上海：华东师范大学出版社，1981
15．[德]吉斯塔夫·弗莱塔克：论戏剧情节上海：上海译文出版社，1981
16．[美]乔治·贝克：戏剧技巧．北京：中国戏剧出版社，1985