【作者】 杨栋；

【导师】 杨栋；

【作者基本信息】 河北师范大学 ， 中国古代文学， 2012， 硕士

【摘要】 元杂剧宾白中存在着大量的诗赞体，这些诗赞体宾白呈现出明显的程式化特点，研究元杂剧中的诗赞体宾白对探讨元杂剧的宾白创作主体、宾白本义以及元杂剧的全面程式化等基本问题有着重要的意义。本文从“诗赞体”概念的形成入手，探讨元杂剧中诗赞体宾白的程式化特点，并由此引申至元杂剧程式化问题的研究。第一章主要梳理诗赞体的来源与形成。“诗赞”一词首出于叶德均的《宋元明讲唱文学》，究其形成，是由本土的“赞”与外来佛经中的“偈赞”互相影响，发展而来。“诗赞体”从赞体和偈赞体中继承了讲述的辅助功能、齐言句式以及韵散结合的特点。在此基础上我们给出诗赞体的定义：所谓的“诗赞体”是以五言、七言、十言等齐言句式为主，在文章中起到辅助叙述作用的韵文。这种辅助叙述功能主要包括，其一，对散文部分的总结概括；其二，对散文部分进行补充说明；其三，引起注意，提起下文。并且从形式和功能上将诗赞体与“韵文”、“诗歌”区分开来。第二章对元杂剧中的诗赞体宾白进行内容和位置上的分类。元杂剧中的诗赞体宾白主要分布在开头、结尾以及剧中的特定位置；主要表达自我介绍、描写情景、总结前文、申诉等固定的内容；其形式以七言、十言为主，间有少数四言、五言、六言。第三章讨论诗赞体宾白的程式化和元杂剧的程式化问题。元杂剧中的诗赞体宾白具有明显的程式化特点：从形式上来看，主要分布于开头、结尾以及剧中特定的位置，遵循着七言句的基本形式；从功能上来看，诗赞体宾白秉承着诗赞体辅助叙述的功能，对曲词、散白进行必要的重复和应有的提示。诗赞体宾白的程式化是元杂剧宾白程式化的表现，从这个角度探讨宾白本义，我们对“唱为主，白为宾”的观点就有了新的推进。同时，由于元杂剧中的宾白具有程式化的特点，故而对于它的创作主体，便有了主要为文人所作，艺人以一当十，在固定的位置套用典范，进行适度修改的观点。得出元杂剧曲词、科范、宾白三方面的全面程式化结论。更多还原

【Abstract】 There is a lot of Shizan in the drama of the yuan dynasty, the Shizan spoken sets thestylized presents the obvious characteristics, study of the Shizan spoken in the drama of theyuan dynasty is very significance to explore the creation subject of the Spoken in the drama ofthe yuan dynasty, the meaning of the Spoken, and the overall program of the drama of theyuan dynasty. This paper, from the "Shizan" of the form of the concept, discusses thestylization characteristics of Shizan spoken in the drama of the yuan dynasty, and byextension to the stylization problem of the drama of the yuan dynasty.The first chapter basically comb Shizan the source and praise form."Shizan" is a wordfor the first YeDeJun "Ming speech literature", investigate its form, is by the native "Zan" andthe external buddhist scriptures of the "Jizan" influence each other, development and become."Shizan" praise from Zan and Jizan the characteristics of the auxiliary function, Qiyan, andmusical sound come loose union. Based on this, we give praise the definition of the Shizan:the so-called "Shizan" is the heptasyllabic verse10words, certain, etc Qiyan sentence is givenpriority to, in the article described the auxiliary role play a rhyme. This kind of auxiliarynarrative function mainly includes, for one, part of a summary of the prose; Secondly, part ofprose added; Third, pay attention, mentioned below. And from the function and form willpraise Shizan and "rhyme","poem" to distinguish.The second chapter, we classify the Shizan spoken in the drama of the yuan dynasty incontent and position. The Shizan spoken in the drama of the yuan dynasty mainly distributedin the beginning, end and the specific location; Mainly express self introduction, thedescription, sums up the above situation, such as the content of the fixed; The frequency,Shiyan is given priority to Qiyan,there are a few Siyan, Wuyan, Liuyan.The third chapter discussion the stylization problem of the Shizan spoken in the drama ofthe yuan dynasty and the stylization problem of the drama of the yuan dynasty. The Shizanspoken in drama of the yuan dynasty has the obvious stylized feature sets: from the form,distributed mainly in the beginning, end and the specific location, follow the basic form ofseven-words words; From the function, the Shizan spoken in the drama of the yuan dynastysets the Shizan auxiliary function, to repeat and due tip the song words, scattered spoken. The stylization of the Shizan spoken in the drama of the yuan dynasty is the performance of theprogram of the drama of the yuan dynasty, from this angle to discusses the meaning of thespoken, we have new propulsion for the point of "sing give priority to, spoken for penn". Atthe same time, because of the drama of the yuan dynasty has the characteristics of stylization,to the creation subject, we have a point of view that, the spoken is mainly creat by literati, theactor pit one against ten,use the model in a fixed position, and moderate modification. So, wehave a conclusion:Song, Kefan, Spoken, all three kinds of comprehensive program sets.更多还原