宣恩與争夫:論唐滌生編《紫釵記》(1957)———以末折之名實爲核心

Announcement of the Imperial Edict and Fight to Win back a Husband: A Discussion of the Last Act of Tong Di-sang’s “The Purple Hairpin” (1957)

Authors

  • 劉燕萍 (LAU Yin Ping Grace) 嶺南大學中文系

DOI:

https://doi.org/10.24112/sinohumanitas.312007

Keywords:

唐滌生, 《紫釵記》, 改編, 《節鎮宣恩》, 《論理争夫》, Tong Di-sang, “The Purple Hairpin”, adaptation, “The Military Governor Grand Commander announcing the imperial edict”, “A fight to win back a husband through a debate”

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

唐滌生編《紫釵記》(1957),改編自湯顯祖編《紫釵記》,收録在葉紹德編撰《唐滌生戲曲欣賞》(葉本)和張敏慧校訂《唐滌生戲曲欣賞》(泥印本)。葉本和泥印本在齣目上,最大分別是泥印本末折沿用湯劇《紫釵記》之《節鎮宣恩》齣目,而葉本則改爲《論理争夫》。本文主要討論末折,分析齣目在內容與名稱方面名實相副的問題。湯劇《節鎮宣恩》,由劉節鎮宣讀聖旨,造成“劍合釵圓”的團圓結局。(第五十三齣)泥印本第六場《節鎮宣恩》沿用湯劇同名劇目,唐劇末折卻沒有出現劉節鎮也沒有宣恩的情節。唐滌生對湯劇《紫釵記》的結局,有個顛覆性而精彩的改寫:增添了“論理争夫”的情節。小玉以卑微的妓女身分,與盧太尉對壘,迫退情敵燕貞、令軍校們“收棍”,力抗看似不可抵擋的命運,反抗太尉,表現了性格決定命運的强大意志。葉本將末折由《節鎮宣恩》改爲《論理争夫》。葉本在齣目上的改動,使劇作最後一齣得以名實相副。

 Tong Di-sang’s “The Purple Hairpin” was adapted from a play with the same title by Tang Xianzu (1550-1616). Tong’s play is included in Ye Shaode’s Tang Disheng Xiqu xinshang (hereafter, Ye version), while Cheung Man Wai’s book with the same title includes a clay-print libretto of Tong’s play (hereafter, clay-print version). One major difference between the two versions is the title of the last act, a main focus of the present essay. The last act of Tang Xianzu’s play is titled “The Military Governor Grand Commander announcing the imperial edict” 節鎮宣恩, which contributes to the happy ending (Act 53). The clay-print version of Tong’s play follows Tang’s “The Purple Hairpin” by adopting the title of the last act in its last act. The problem is that in Tong’s play one finds no such character of the Military Governor, let alone his announcing any imperial edict. Does the title of the last act match the content of the play? Tong Di-sang made a radical change in his adaptation of Tang’s play by adding the plot of the female protagonist Xiaoyu’s debate in her fight to win back her husband. Xiaoyu is depicted as being incredibly courageous to challenge Defender-in-Chief Lu, who represents the formidable power. She embodies strong will to fight against fate and, therefore, her temperament determines her fate. The Ye version changes the title of the last act to “A fight to win back a husband through a debate” and makes it fit the play content.

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Published

2020-12-01

How to Cite

劉 燕. (2020). 宣恩與争夫:論唐滌生編《紫釵記》(1957)———以末折之名實爲核心: Announcement of the Imperial Edict and Fight to Win back a Husband: A Discussion of the Last Act of Tong Di-sang’s “The Purple Hairpin” (1957). 人文中國學報, 31, 221–261. https://doi.org/10.24112/sinohumanitas.312007

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Section

論文