元明散曲的女性藝名書寫：對一種文本現象的考察

A Discussion on the Representations of Female Entertainers’ Stage Names in Yuan and Ming Sanqu

Abstract

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

以女性藝名本身爲題材的書寫，廣泛盛行於元散曲，少見於其它文體。以往研究者常將此種寫作視爲普通的嵌名，但事實上元散曲的女性藝名書寫具有獨特的審美價值，表現爲對雙關形式的創新與對雅俗傳統的融合，體現了元散曲的混合性。元散曲女性藝名書寫的動機不可以社交性、商業性簡單概括，需將其放在金元文學創作及元代曲集編選的歷史情境中加以理解。與其説元散曲的女性藝名書寫是群體的社交行爲，不如説他是共享的文學實踐。女性藝名書寫在明散曲中，經歷了從模仿定型、潤色雅化到取代更新的過程，可與明代對元曲的接受歷程互爲觀照。

Writing on the female entertainers’ stage names can be commonly found in Yuan sanqu, which was rarely seen in other literary genres. The previous scholarship regarded this trope of sanqu as a normal rhetorical technique called qianming 嵌名 (embedding names in sentences). However, this trope reveals Yuan sanqu’s distinctive aesthetic by innovative punning and creatively uniting ya (refined) and su (popular). Writing on the female entertainers’ stage names proves Yuan sanqu as a mixed-registers literature. Nevertheless, the motivation of inventing this trope should not be simplified as pursuing immediacy in a social, communal environment. Instead, by relating writing on the female entertainers’ stage names with the writings of the Jin-Yuan ci song lyrics and the compilation of Yuan sanqu collections, it is safe to say that this trope is more oriented toward literary creation than for social orcommercial purposes. Later on, the writings on the female entertainers’ stage names underwent changes in Ming sanqu, which correspond to the Ming playwrights’ reception towards Yuan sanqu as canonized literature.