试论李渔商业化“治生”方式对其曲论及剧作的影响

【作者】 任心慧；

【导师】 刘益国；

【作者基本信息】 四川师范大学 ， 中国古代文学， 2002， 硕士

【摘要】 在中国古代文学史、戏曲史上，很少有清初戏曲家李渔这样复杂而毁誉天壤的人物。他亦文亦商，著述颇丰，生前名满天下，妇孺皆知，身后三百年却冷冷清清，少有史载。人们对他的评价亦历来是毁誉参半，莫衷一是。近年来，随着文学研究的深入，掀起了李渔研究的红火局面，李渔戏曲、小说、诗文、园林、饮食、养生等各方面的著述价值都得到了挖掘，对李渔的评价也日趋客观，综合来看，人们大多肯定其曲论的价值，但对其人品、十种曲的价值及与曲论的一致性却多持非议。“治生”，即生活资料的获取，这永远是人类最基本的生活课题。(本文所谓 “治生”，取其“谋生计，经营家业”之义,如《史记·货殖列传》:“而白圭乐观时变,故人弃我取,人取我与,……盖天下言治生祖白圭。" 《三国志·蜀志·诸葛亮传》上后主表：“至于臣在外任，无别调度，随身衣食，悉仰于官，不别治生，以长尺寸。”)本文将从“生计”这一士人最为基本的生存要素着手，以贯穿其文艺人生始终的商业性为切入点，重新评价李渔其人，从而对在商品经济冲击下古代士人经济人格的发展作一尝试性探讨；并以此观照其曲论及剧作，以客观的实事求是的态度来探讨二者的一致性问题。本文分三章，分别从李渔的经济人格、戏曲理论、十种曲三方面来论述商业化的“治生”方式对李渔的影响。总之，李渔对士人“本业治生”的异化，对士人健全经济人格的形成具有重要的意义；同时，商业化的艺术人生道路的选择，增强了文学与社会的交融与互动，使得李渔在自身天赋禀性与总结前人经验的基础上，创作出了系统而又成熟的戏曲理论，奠定了他在中国文学史、戏曲史上不可磨灭的一页。其剧作十种曲则是李渔戏曲理论的具体实践，通俗性的特色与曲论一而贯之。商业性的创作目的不可避免地给其曲论与创作带来了局限，在其曲论中体现为多为技巧论而少及思想内涵，由于理论偏于抽象而文学创作须重形象，这种局限在十种曲中表现得更为明显。但我们应以客观的、历史的观点评价李渔，既看到他的时代、阶级局限性，又要公正评价李渔其人及其曲论与十种曲的价值。更多还原

【Abstract】 In the history of Chinese ancient literary and drama, few could compare with Li Yu, the dramatist of the early Qing dynasty for his complicated personality and the distinct appraises given. Li Yu’s life was characteristic of both doing business and taking up writing with plenty of works. Contrast to his fame in his time and familiarity with his people, Li Yu was not much known and seldom noted during the 300 years following his passing away. The evaluations that people had given to him were always half praiseful and half contemptible. In recent years, the deepening of the literary research has led to the booming of the study of Li Yu. The literary value of his dramas, novels, poems, gardens, diets and lives has been exploited to a much deeper degree and the appraises of Li Yu are much more objective. In general, the academic value of Li Yu’s dramatic theory is mostly agreed upon, yet the view of his character, the technical value of Shizhongqu and its consistency with his dramatic theory is much doubtful. Zhisheng, which means the adoption of living materials, is always the basic topic for mankind. The dissertation starts with shengji, the most basic living aspect for ancient scholars, evolves around the commerciality which went through Li Yu’s literary life, reassesses Li Yu’s character, and hence discusses in attempt the development of the economic character of ancient scholars in the early period of China’s ancient commodity economy which germinated in the era between Ming and Qing dynasties. And hereinafter Li Yu’s dramatic theory and dramatization and the consistency between them are analyzed with the economic character. The thesis is composed of three parts, which discuss the commercial zhisheng means’ influence on Li Yu from the aspect of his economic character, dramatic theory, and Shizhongqu respectively. In all, Li Yu’s innovation of ancient scholars’ benyezhisheng was very important to the forming and strengthening of scholars’ economic character. Meanwhile, Li Yu’s choice of commercial literary life enhanced the interaction of the literature and the society, thus stimulated him to set up <WP=4>systematic and mature dramatic theory which contributed to his status in the history of Chinese ancient literary and drama based on his own talent and the foregoers’ experiences. Li Yu’s dramatization Shizhongqu, which was both plain-styled and theoretic, was just the application of his dramatic theory. The commerciality aim of Li Yu’s dramatization necessarily restricted his dramatic theory and dramatization, and we can conclude from the fact that there were more techniques than inner thoughts in his dramatic theory. What’s more, the limitation was more obvious in Shizhongqu for theory emphasizes on the abstract while dramatization touches more on outside appearances. Nevertheless, we should evaluate Li Yu with objective and historic point of view by not only realizing his contemporary limitations, but also analyzing his unique character and the literary value of his dramatic theory and Shizhongqu.更多还原