李漁戲曲創作理論和寫作實踐的矛盾性芻議

Abstract

作為明末清初的文學家、戲曲家、戲曲理論家、通俗文化大師、生活美學的集大成者, 李漁 (1611—1680) 在戲曲、小說、出版等許多方面都取得了卓越的成就, 留下極為豐富的文學遺產。對比《閑情偶寄》中的戲曲理論和李漁的創作實踐, 能夠發現李漁曲論與其創作之間的諸多"矛盾": 李漁力倡"戒淫褻"、"戒荒唐"、追求藝術創作的"無我之境"等, 但其在具體的創作實踐中卻不忌淫詞穢語、大膽進行藝術虛構, 與此同時又難免作者意識、聲音等主觀因素的介入, 矛盾頻現。這種"矛盾性"及其成因, 旁涉明末清初的時代氛圍、社會文化風氣和士人心態以及李漁為了使作品在市民大眾和不同階層的讀者群中得到接受、傳播, 在創作實踐中對自己理論主張的背離。

Li Yu (1611-1680), as a writer, dramatist, drama theorist, master of popular culture, and synthesizer of life aesthetics, has made outstanding achievements in many aspects, such as drama, novel, publishing, etc., leaving a very rich literary heritage.By comparing the theory of drama in Xianqingouji and Li Yu’s creative practice, this paper comprehensively presents many "contradictions" between Li Yu’s dramatic theory and his creation: Li Yu advocates "abstaining from obscenity", "abandoning absurdity", and pursuing "selflessness" in artistic creation. However, in his specific creation practice, he does not avoid obscene words, boldly makes artistic fictions, and at the same time inevitably creates works with the intervention of subjective factors such as author consciousness and voice. Contradictions occur frequently. Furthermore, this paper investigates the causes of the "contradiction", involving the era atmosphere, social and cultural ethos and scholars’ mentality in the late Ming and early Qing Dynasties, and points out that Li Yu deviates from his own theory in order to make his works accepted and spread among the public and readers of different classes.