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斋末葛
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1 Journal of Theater Studies 00 - 唱一個殘夢到黃粱 * 論邯鄲夢的飲食和語言一字字俱費經營 0- *

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3 唱一個殘夢到黃粱論邯鄲夢的飲食和語言時至今日湯顯祖對戲曲語言藝術的重視早已為學界所普遍認同但論者泰半是從聲律的角度或湯沈之爭即戲曲創作聲律辭采孰者為先的戲曲史角度展開論述相對而言對其劇作中語言具體運用的關注則較為少見就有也多集中於牡丹亭一劇因此本文擬以湯氏生平的最後一部劇作邯鄲夢為焦點首先探討劇中重出的飲食意象的意義其次解析劇中的語言文字遊戲的思想意蘊以見出飲食和語言此二母題的凸顯不僅是湯顯祖對其劇作本事小說枕中記的再創造成果並且反映出晚明文人相較於元人在創作劇本時所看重的文學性與閱讀性的審美追求需要說明的是本文中所謂語言其實是指廣義的包括書寫文字在內的語言現象無論是雙關語所涉及的聽覺的語言還是迴文詞與字形離合體所牽涉的視覺的文字組合排列都包括在內本文最後擬簡評湯顯祖在戲曲語言上不斷進行實驗琢磨的創新精神二飲食欲望與人生一黃粱夢浮生的象徵邯鄲夢敘寫盧生被道教八仙之一呂洞賓點化入道事全劇之關鍵在於黃粱一夢靠種田為生的未遇士子盧生在呂所授磁枕上做夢經歷了五十餘年宦海浮沉最終受封趙國公食邑五千戶享盡人間富貴榮華然而壽終夢醒卻發現店主人為他烹煮的黃粱飯尚饒一把火才能炊熟此刻洞賓提醒他夢前所懷生平大志呂你說大丈夫當建功樹名出將入相列鼎而食選聲而聽使例見曾永義再說拗折天下人嗓子周秦沈湯之爭的歷史觀照華瑋主編湯顯祖與牡丹亭臺北中央研究院中國文哲研究所 00 年頁例見Wai-yee Li, Enchantment and Disenchantment: Love and Illusion in Chinese Literature (Princeton: Princeton University Press, ), Chapter, pp. - ; Catherine Swatek, Peony Pavilion on Stage: Four Centuries in the Career of a Chinese Drama (Ann Arbor: University of Michigan, 00 ), Chapter, pp. -. 參見李曉金文京校注邯鄲夢記校注本事考上海上海古籍出版社 00 年頁 - - -

本文最後擬簡評湯顯祖在戲曲語言上不斷進行實驗琢磨的創新精神二飲食欲望與人生一黃粱夢浮生的象徵邯鄲夢敘寫盧生被道教八仙之一呂洞賓點化入道事全劇之關鍵在於黃粱一夢靠種田為生的未遇士子盧生在呂所授磁枕上做夢經歷了五十餘年宦海浮沉最終受封趙國公食邑五千戶享盡人間富貴榮華然而壽終夢醒卻發現店主人為他烹煮的黃粱飯尚饒一把火才能炊熟此刻洞賓提醒他

4 戲劇研究第五期宗族茂盛而家用肥饒然後可言得意如子所遇豈不然乎此際尋思得意何在生想介便是呢黃粱飯好香也 10 呂子方列鼎而食希罕此黃粱飯乎這段對話的目的無疑是在刻意地把我們帶回此劇初始的情境也是盧生與洞賓的對話生忽起自看破裘歎介大丈夫生世不諧而窮困如是乎呂觀子肌膚極腧體胖無恙談諧方暢而歎窮困者何也生老翁說我談諧得意吾此苟生耳何得意之有呂此而不得意何等為得意乎生大丈夫當建功樹名出將入相列鼎而食選聲而聽使宗族茂盛而家用肥饒然後可言得意也生作癡介我一時困倦起來了丑想是饑乏了小人炊黃粱為君一飯 11 生待我榻上打個盹睡介當劇近尾聲盧生一覺醒來呂洞賓要他尋思的對象當然就是本劇中心夢境所表現的世俗欲望的虛妄但盧生醒悟的契機或者說他表達對人生有了不同體會的方式竟是這一句黃粱飯好香也這裡是戲劇的高潮我們看見食物的意象黃粱飯和列鼎而食的對比煮黃粱飯的時間與夢裡人生近六十年的反襯明顯地成為作者結構全劇使之前後照應的巧妙設計事實還不僅如此在距此前二齣的極欲中盧生初封趙國公皇恩賜與仙音院女樂二十四名家宴慶賀之際女樂唱的唱舞的舞文本中突然出現這麼一段樂把我這截雲霄不住的歌喉放唱一個殘夢到黃粱生怎說起黃粱 12 眾不是唱一個殘韻繞虹梁黃粱在夢中出現是呂洞賓導演盧生演出的夢境即將結束的先兆盧生之問是作者設計旨在對此劇觀眾讀者突出黃粱夢將醒的事實而樂人的立即否湯顯祖邯鄲記徐朔方箋校湯顯祖全集第齣生寤頁 - 同前註第齣入夢頁 - 同前註第齣極欲頁 - -

但盧生醒悟的契機或者說他表達對人生有了不同體會的方式竟是這一句黃粱飯好香也這裡是戲劇的高潮我們看見食物的意象黃粱飯和列鼎而食的對比煮黃粱飯的時間與夢裡人生近六十年的反襯明顯地成為作者結構全劇使之前後照應的巧妙設計事實還不僅如此在距此前二齣的極欲中盧生初封趙國公皇恩賜與仙音院女樂二十四名家宴慶賀之際女樂唱的唱舞的舞

5 cosmological time Cosmological time C. T. Hsia, Time and the Human Condition in the Plays of T ang Hsien-tsu, in C. T. Hsia on Chinese Literature (New York: Columbia University Press, 00), pp

6 ( 二 ) 朝家茶飯的反諷

7 靭

8 ( 三 ) 酒色財氣的仙凡觀照

9 30 㫰㫰

11 - 37 三語言認知與意義的重組

12 戲劇研究第五期顯的多了一層屬於明清文人傳奇的審美趣味這可由以下討論的雙關語倒句迴文離合體等語言或文字的特殊用法見其端倪一雙關語雙關語乃運用文字同音異義或一字數義的關係所作的巧妙語詞劇一開始呂洞賓要來人間度人下場時他說不免將此磁枕搭袱駕雲而去也枕是頭邊枕磁為心上慈磁慈一音多義耐人尋味此枕係此劇之重要砌末初出現用雙關語引人好奇之餘可加深聽眾觀眾印象但其用處未明等洞賓到達岳陽樓酒客們與他言不投機直欲打碎磁枕他才道出此 40 枕的好處好消息在其中但枕著都有個回心處洞賓自號回道人傳道度人慈心接物所以說磁枕即慈枕再舉一個更有深意的例子此劇末齣合仙呂洞賓帶領盧生前往蓬萊兩人途中唱混江龍曲盧生說起弟子一生耽閣了個情字洞賓因而接唱蚤則是火傳薪半竈的燒殘情榾柮卻怎生風鼓鞲一鍋兒吹醒睡餛飩也因 41 你有半仙之分能消受遇著我大道其間細講論這前兩句不禁讓人想起前述李漁所評晴絲情思字字俱費經營的話來很顯然燒殘情榾柮對吹醒睡餛飩榾柮是短木餛飩一語雙關混沌是也這裡用了鍋煮餛飩的意象比喻人生情是木柴未點燃燒透前鍋裡的水不能滾而人則如睡躺在鍋底的餛飩醒活不過來這說明盧生因為在夢裡早已把情銷磨殆盡故能從人生混沌的睡眠狀態中醒覺邯鄲劇雖亦言情但此情已非牡丹亭中超越形骸生死可歌可泣之情而是 42 世俗之惡情是人生混沌受其役使以故不能逍遙自在的欲望所以盧生自己才說一生耽閣了個情字今有邯鄲的現代版本把餛飩逕改作混沌雖然抓住了作者的意旨卻很可惜地沒有考慮到湯氏此劇慣用食物意象的用心把原本餛飩二字的生動意象取消了事實上我們如果閱讀湯顯祖邯鄲記第齣度世頁同前註第 0齣合仙頁參見湯顯祖復甘義麓弟之愛宜伶學二夢道學也性無善無惡情有之因情成夢因夢成戲戲有極善極惡總與伶無與伶因錢學夢耳弟以為似道憐之以付仁兄慧心者徐朔方箋校湯顯祖全集詩文卷尺牘之二頁 -12-

卻怎生風鼓鞲一鍋兒吹醒睡餛飩也因 41 你有半仙之分能消受遇著我大道其間細講論這前兩句不禁讓人想起前述李漁所評晴絲情思字字俱費經營的話來很顯然燒殘情榾柮對吹醒睡餛飩榾柮是短木餛飩一語雙關混沌是也這裡用了鍋煮餛飩的意象比喻人生情是木柴未點燃燒透前鍋裡的水不能滾而人則如睡躺在鍋底的餛飩醒活不過來這說明盧生因為在夢裡早已把情銷磨殆盡

13 local

15 47 48 ( 二 ) 離合體倒句迴文

17 X X

19 66 67 四餘論 : 有意義的多餘

21 喆

22 -22-

23 唱一個殘夢到黃粱論邯鄲夢的飲食和語言關鍵詞 : 湯顯祖邯鄲夢飲食語言晚明戲曲 -23-

24 Sing the Remnant of the Yellow Millet Dream: A Study of Food, Drink and Language in Handan meng Wei HUA Professor, Department of Chinese Language and Literature The Chinese University of Hong Kong Gist, fun, spirit, and color are what Tang Xianzu deems most important in playwriting. His emphasis on linguistic rather than prosodic excellence, though criticized in the Ming and the Qing, has won the approval of contemporary scholars. However, most have discussed his use of language either from the formal angle of euphonic regularities or from the historical angle of his debate with Shen Jing. Few have analyzed from a literary perspective his use of language other than that in the Peony Pavilion. Therefore, I have chosen the Handan Dream as an example to explicate his art of language. This paper demonstrates the significance of the recurring images of food and drink, as well as the meaning of his wordplay design. In addition to the great contribution to character portrayal and thematic representation of the Handan Dream, both the motif of food and drink and that of language represent Tang s artistic recreation of his source tale. They, in turn, exemplify the aesthetic pursuits of literary essence and the pleasure of reading by the late Ming playwrights. In the Handan Dream, wine, yellow millet, and court banquets reflect the successive and incremental development of the images of food and drink. This is meant to contrast with the feast of flat pears enjoyed by the Daoist immortals at the beginning and the end of the play. Tang carefully employed these images of food and drink to express his thoughts on human life and worldly desire in order to encourage spiritual transcendence. With this purpose in mind, he also invented gustatory, auditory, as well as visual wordplay and displayed multifarious ways of expression so as to break the stagnant way of thinking of his time. To conclude, this paper briefly appraises Tang s continuous efforts in experimenting with language in his playwriting career. Key Words: Tang Xianzu Handan meng food and drink language late Ming drama -24-

25 徵引書目

26 Hsia, C. T. Time and the Human Condition in the Plays of T ang Hsien-tsu. C. T. Hsia on Chinese Literature. New York: Columbia University Press, Li, Wai-yee. Enchantment and Disenchantment: Love and Illusion in Chinese Literature. Princeton: Princeton University Press, Swatek, Catherine. Peony Pavilion on Stage: Four Centuries in the Career of a Chinese Drama. Ann Arbor: University of Michigan,

成大中文學報第四十四期 The Body Metaphors in The Travels of Lao Can Hsu Hui-Lin Assistant Professor, Department of Chinese Literature, National Taiwan

成大中文學報第四十四期 The Body Metaphors in The Travels of Lao Can Hsu Hui-Lin Assistant Professor, Department of Chinese Literature, National Taiwan 成大中文學報第四十四期 2014 年 3 月頁 255-290 國立成功大學中文系論老殘遊記中的身體隱喻許暉林 * 摘要晚清以降, 以身體譬喻國體成為理解國民與國家關係的重要方式藉由對老殘遊記中身體譬喻的分析, 我試圖提出以下的觀察