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題 名 | 湯菊莊散曲探究=To Search for Tang, Chu-chuang's "San Chu" |
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作 者 | 范長華; | 書刊名 | 國立中正大學學報 |
卷 期 | 9:1(人文分冊) 民87.12 |
頁 次 | 頁91-115 |
分類號 | 822.4 |
關鍵詞 | 湯菊莊; 散曲; 小令; |
語 文 | 中文(Chinese) |
中文摘要 | 湯式,字舜民,號菊莊,浙江人,好滑稽,生卒年不詳,曾受明成祖恩遇。菊莊 有專集傳世,現存小令 169 首,套數 68 套,數量豐富。 其散曲內容固然有三分之一以上 與美人相關,表現其風流多情,但也暗含末代文士的無奈與苦悶;此外有四分之一的小令抒 發潦倒江湖的困頓,至於入明歡欣歌頌之篇甚少。尤可重視的,是紀錄亡元的江南衰景、大 明一統之際的教坊勾欄建築與劇場盛況、反映地方權豪掠奪的作品。在表現手法上,菊莊散 曲以多樣化的俳體最為出色;其重頭小令不僅數量多,所用的曲牌亦多,且形式也有變化; 其聯套方面,有四十六套「二曲一尾」式,四套「一曲帶尾」式,一套篇幅長且規整的南北 合套,以及一套北套中穿插著類似集曲的曲子;凡此特色俱顯現其由元入明的過渡性與民間 性。在風格上,端謹,是菊莊散曲的主體風格,但也有清麗、豪麗兼至的曲風,可貴的是少 數保有豪放本色之作,其中富含滑稽詼諧。菊莊散曲在當時已頗流行,其影響力自是廣遠。 總之,經本文全面性的探討之後,可以肯定湯菊莊在中國散曲史上具有承先啟後的重要地位 。 |
英文摘要 | Tang, Tzu, first named Shun-Min, titled Chu-Chuang, a native of Chekiang, was fond of the ludicrousness, date of birth and decease unknown, had been in special recognition by Cheng-Tzu in Ming Dynasty. Chu-Chuang had his special collection passed to on the world. There are verses 169 pieces and a set of suite existing so far, the number is abundant. No doubt, over one-third pieces in his San Chu were related with beauty, which performed his intellectual sophistication and passion. Nevertheless, it also concealed the letters-man's no alternative and boredom in the last reign. In addition, there were one-fourth verses expressing an exhausted, down-in-luck and vagabond life. The pieces of joy and praise as expressed in early Ming Dynasty were very few. Especially, what we can pay attention to were the works which recorded the declined scenes around the area of Yangtze river and reflected the local ranking officials' seizing and robbery. In his performance way, the most outstanding in Chu-Chuang's San Chu was "Pai Ti", in its variety of the light and comic poetry. The verses involving much were not only numerous in quantities, but also the tune suite used were much. Besides, the forms were also varied. With regard to the combined suite, there were 46 suites of "two verses with one epilogue", 4 suites of "one verse with one epilogue", a combined suite from two forms which was a long length and complete arrangement, in addition, a Pei-Chu-suite which was go-between with a different-Nan-Chu-form collection. All these characteristics revealed the transitional period and folkway from Yuan to Ming Dynasty. In his style, the ornate was the main style of Chu-Chuang's "San Chu". Nevertheless, there was also in both clear and attractive as well as vigorous, unrestrained and clear style. What the highly commendable was that his works were few works still remaining the true characteristics of the vigorous and unrestrained. They were abundantly ludicrous and humorous. While Chu-Chuang's San-Chu had been considerably popular at that time, its influence force was extensive and broad from then on. In conclusion, after the overall study in the text, it is affirmative that Tang, Chu-Chuang, in the history of Chinese "San Chu" played a significant position to be heir to be here to ancient sages and the teacher of posterity. |
本系統中英文摘要資訊取自各篇刊載內容。