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A study of Tang Hsien-Tsu’s commentary of drama
No full text晚明的戲曲評點因為城市人民的娛樂需求、戲曲文化的活躍繁榮與刻書事業的蓬勃發展而興盛。以「湯顯祖」為號召的戲曲評點本，因數量不少，已成一系列的「湯評本」，然而其中有不少評點本並非湯顯祖所評。由於釐清這些湯評本的真偽，運用這些評點資料，有助於建構或補充湯顯祖的戲曲理論，而且即使這些湯評本為偽託之作，其評點內容仍能表現當時普遍流行的戲曲理論觀點，因此有其研究的必要與價值。論文所採取的研究方法是先掌握學者諸說的爭議所在，以作為展開真偽考述的基礎；再以四種角度觀照湯評本的諸多問題，一是考察「劇本作者」、「劇本創作年代」與湯顯祖生平的關係，以探討湯顯祖加以評點的可能性；二是藉由板式與插圖進行「評本刊刻地」的考察，觀察明代刊刻湯評本的現象，藉以判斷書坊作偽的可能性與型態；三是針對「同劇作的各種評本」進行比較，以釐清評語是否借襲他本及各評本間的關係；四是分析「評語內涵」是否符合湯顯祖的思想精神與文藝觀點。後以可信為湯顯祖所評的《董解元西廂》與《紅拂記》來探討湯評本的戲劇學觀點，一是雖然重視「曲意」的發揮，但已越來越講究「關目情節」的經營與安排，二是對於人物形象塑造，也因「情真」思想，促使人物由「類型化」轉變為「個性化」的發展。於偽託湯評本的戲劇學觀點，則由視為「擬作」的《玉茗堂批評紅梅記》、《玉茗堂批評異夢記》、《玉茗堂批評種玉記》與《玉茗堂批評節俠記》四種來探討，一是追隨湯顯祖「情」與「夢」的主題，二是注意曲白文詞的抒情性以及人物塑造的「情真」，三是注重關目情節的呈現，四是注意場上表演的需要，已逐漸建立戲曲劇本「場上表演」的觀念。The commentary of drama was in vogue during the late Ming dynasty, because the amusement demand of civilian, prosperous culture of opera and flourishing development of book publication. In the series of text about “Tang Hsien-Tsu’s commentary of drama”, which was thought to be written by Tang Hsien-Tsu himself, were not all Tang Hsien-Tsu’s commentary. Because of distinguishing “the Tang Hsien-Tsu’s commentary of drama” true and false, using these commentary materials is helpful to construct or supply the drama theory of Tang Hsien-Tsu. However, even if the commentary was forged to be Tang Hsien-Tsu''s, it can still exhibit the popular viewpoint of opera at that time. Therefore, a research about this is necessary and valuable.he research methodology of thesis is to grasp all scholar''s dispute. After that, the problems of the commentaries are surveyed in four respects. First, to show the relations between“drama author”, “play writing times” and Tang Hsien-Tsu''s life; Second, to investigate the book workshops and types forged; Third, to compare various of drama commentaries in order to distinguish the relations of drama commentaries; Fourth, to analyze comment intension whether it accords with thoughts, literature and art viewpoints of Tang Hsien-Tsu.he commentaries of “Tung chieh yuen his hsiang” and “Hung fu ji” made by Tang Hsien-Tsu are reliable. We use these commentaries to show Tang Hsien-Tsu''s drama theory. First, though “meaning of song” was valued, the arrangement of plot was emphasized more and more; Second, for personage image-building, impelling personages to be changed into “individualized development” from the “the type” was due to the thought of “true feelings”.he commentaries of “Hung mei ji ”, “I meng ji”, “Chien yu ji” and “Chieh hsia ji” were not made by Tang Hsien-Tsu, but commentators made these like Tang Hsien-Tsu. These commentators, first, followed the theme about “the feeling” and “the dream” of Tang Hsien-Tsu; Second, they paid attention to the lyric words of a song and characterization about “real feelings”; Third, they laid stress on the appearing of plot; Fourth, they thought highly of the need of performing on the field so they had already set up the idea of the libretto, “performs on the field”, gradually.目 錄試委員會審定書 Ⅰ辭 Ⅱ文摘要 Ⅲ文摘要 Ⅳ論 1一節：研究概況與旨趣 1二節：研究範圍與方法 13一章：晚明戲曲評點與湯顯祖生平思想概述 16一節：晚明戲曲評點勃興的因素 16、城市人民的娛樂需求 16、戲曲文化的活躍繁榮 18、刻書事業的蓬勃發展 18二節：明代戲曲評點本的組成要素 21、評點形式的分析 21、評點內涵的分析 22三節：湯顯祖的生平與文學思想 26、湯顯祖的生平 26、湯顯祖的文學思想 30二章：湯評本真偽考述（上）：玉茗堂批評系列 43一節：《玉茗堂批評紅梅記》 43、《紅梅記》創作年代 43、學者對《玉茗堂批評紅梅記》是否真為湯顯祖所評的看法 43、學者的爭議之一：袁于令改寫〈鬼辯〉的時間是否在湯顯祖逝世之前 46、學者的爭議之二：《玉茗堂批評紅梅記》與陳繼儒評《丹桂記》的關係（四種《紅梅記》評本板本的比對） 48、學者的爭議之三：〈紅梅記總評〉與各齣眉批、齣批是否皆符合湯顯祖思想與藝術內涵 59、小結 64二節：《玉茗堂批評異夢記》 67、《異夢記》創作年代 67、學者對《玉茗堂批評異夢記》是否真為湯顯祖所評的看法 69、學者的爭議之一：袁于令創作《西樓記》的時間，是否在湯顯祖逝世之前 70、學者的爭議之二：《玉茗堂批評異夢記》與師儉堂本陳評《異夢記》的關係 71、《玉茗堂批評異夢記》評語內涵的分析 73、小結 78三節：《臨川玉茗堂批評西樓記》 81、《西樓記》創作年代 81、《臨川玉茗堂批評西樓記》評者為誰的討論 81四節：《玉茗堂批評種玉記》 85、《種玉記》創作年代 85、學者對《玉茗堂批評種玉記》是否真為湯顯祖所評的看法 87、《玉茗堂批評種玉記》與明代蘇州書坊的關係 88、《玉茗堂批評種玉記》的評語是否皆符合湯顯祖思想與藝術內涵 89、小結 94五節：《玉茗堂批評節俠記》 96、《節俠記》創作年代 96、學者對《玉茗堂批評節俠記》是否真為湯顯祖所評的看法 97、《玉茗堂批評節俠記》與明代蘇州書坊的關係 98、《玉茗堂批評節俠記》的評語是否皆符合湯顯祖思想與藝術內涵 99、小結 100三章：湯評本真偽考述（下）：湯評西廂系列及其他 103一節：《董解元西廂》與《玉茗堂批訂董西廂》 104二節：《湯海若先生批評西廂記》、《西廂會真傳》、《三先生合評元本北西廂》 121三節：《玉茗堂批評新著續西廂昇仙記》 143四節：湯顯祖評《紅拂記》 146、《紅拂記》的評價與評點本 146、學者對湯顯祖評《紅拂記》是否真為湯顯祖所評的看法 148、三種《紅拂記》評點本的比對 149、湯顯祖評《紅拂記》（凌玄洲本）的評語是否皆符合湯顯祖思想與藝術內涵 158、小結 163五節：其餘湯評本 165、有獨立不抄襲的批評內容，而偽託湯顯祖所評 165、翻刻抄襲他本的批評內容，而偽託湯顯祖所評 166、根本無實質批評內容，而偽託湯顯祖所評 167四章：湯評本的戲劇學觀點 168一節：湯顯祖評《董解元西廂》的戲劇學觀點探討 168、人物形象 170、曲白文詞 174、關目情節 179二節：湯顯祖評《紅拂記》的戲劇學觀點探討 182、人物形象 182、曲白科諢 190、關目情節 193三節：偽託湯評本的戲劇學觀點探討 196、「情」與「夢」的追隨 197、關目情節 200、場上表演 207論 209考文獻 215錄：湯顯祖戲曲評點本評語輯錄 22
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No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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