009 49 4 失 序 之 抗 衡 王 九 思 曲 作 中 的 兩 種 歸 隱 * 靝 一 前 言 駡 4-4 49 49 499 * 00 9 b 0-004 4-49-
0 09 4 0-0 44-4-4 0 4 9 9 9-0 L. Carrington Goodrich and Chaoying Fang eds., Dictionary of Ming Biography 1368-1644 (New York: Columbia University Press, 9) vol., pp.-. - 00-0 00 0-4 94-9 99 94 9-4 99 0- - 0-94- 9-50-
9 10 11 0-12 13 4-4- 4-4 4 99 9 9 4 00 a 4 994 99 10 qu community Qu Writing in Literati Communities: Rediscovering Sanqu Songs and Drama in Sixteenth-Century North China, Ph.D. Dissertation (Harvard University, 2006), Chapter 2, pp. 59-129. 11 90-9 9 49-0 12 90-90 9 The Wolf of Zhongshan and Ingrates: Problematic Literary Contexts in Sixteenth-Century China, Asia Major Third Series 20.1 (2007): 105-131. 13 99 4 9-51-
14 0-17 二 自 樂 在 林 泉 住 王 九 思 散 曲 中 的 歸 興 峯 峯 14-90 4 9 15 00 - Douglas Keith Wilkerson, Shih and Historical Consciousness in Ming Drama, Ph.D. Dissertation (Yale University, 1992), Chapter 2, pp. 93-125. 16 17 Qu Writing in Literati Communities: Rediscovering Sanqu Songs and Drama in Sixteenth-Century North China, passim. 18?- 4-52-
壠 19 0 21 19 0-20 a 4 21 99-004 9-9 0 00-0 22 a-a 49 940-94 -53-
戲劇研究 第三期 暮雨朝霞 粧點出輞川畫 與上一首帶過曲 歸興 不同 此套曲呈現的是王九思歸隱生活的另一個階段 我們看到的不再是王九思回到故鄉時最初的一個場景或一個時刻 套曲中所表現 的似乎是一位歸田已有一段日子 並且已漸漸適應其歸隱生活的文人 王九思不 僅重申歸田的喜悅之情 也為我們描繪了一幅恬淡閒適的田園生活圖 這正為他 提供了一個遠離官場的避風港 如他在第二支曲中所闡明 駐馬聽 暗想東華 五夜清霜寒控馬 尋思別駕 滿廰殘月曉排衙 路危常與虎狼狎 命乖卻被兒童罵 24 到如今誰管咱 葫蘆提一任閑頑耍 在第四支曲中 王九思更進一步形容其逍遙的生活 折桂令 問先生有甚生涯 賞月登樓 遇酒簪花 皓齒朱唇 輕歌妙舞 越女秦娃 25 不索問高車駟馬 也休提白雪黄芽 春雨桑麻 秋水魚蝦 26 痛飲是前程 爛醉是生涯 王九思在曲中賦予自己一個新的形象 留戀歌舞的逍遙醉客 貶謫 罷官意味著 前程已毀 但王九思為自己重新建立起新的生命秩序 疾呼 痛飲是前程 爛醉 是生涯 在他的其他散曲中也可常見類似句子 如 日日啣盃也不妨 任從他 27 唤我做顛狂 等 在另一首小令中 他又自命為 盛世閑人物 王九思在 罷官後自稱為 狂人 在這裡可略見一二 肯定閒適生活的另一面 即對功名富貴的否定 如第五 第六支曲所述 雁兒落 23 24 25 26 27 28 王九思 歸興 謝伯陽編 全明散曲 頁940 同前註 白雪黄芽都是與煉丹有關的道家術語 王九思 歸興 謝伯陽編 全明散曲 頁940 王九思 次對山飲中之作 四首之二 謝伯陽編 全明散曲 頁 王九思 病起作 二首之二 謝伯陽編 全明散曲 頁 -54-
着 黄 着 29 30 31 29 9 30 940-94 31 00-55-
James I. Crump 4 Crump imaginary withdrawal 38 9-9 9 32 James I. Crump, Songs from Xanadu: Studies in Mongol-Dynasty Song Poetry (San-ch ü) (Ann Arbor: Center for Chinese Studies, the University of Michigan Press, 1983), p.44. 00-33 99 34 49 99 494-0 35-44 4 36 4 37 Crump, Songs from Xanadu, p.4. 38 4-39 90-99 94 9-56-
0-0-4 40 0-4 41 42 43 44-4 9 40 00 41 42 0 43 Xinda Lian Xinda Lian, Qu Poetry, in Zong-qi Cai, ed., How to Read Chinese Poetry: A Guided Anthology (New York: Columbia University Press, 2008), p.341. 44 94-57-
4 4 47 48 45 4 46 4 47-44 48 9-58-
49 0 51 52 三 不 如 咱 急 流 中 歸 去 勇 雜 劇 杜 子 美 沽 酒 遊 春 記 中 理 想 化 的 歸 隱 舘 49 9 50 51 9 52 44-0 53 9-59-
54-0 9-0 56?- 54 b 55-0 9-94 990 4-0 沢 90-9 9 9-4 004 4-49 00 56 4 a 57-99 9-58 -60-
59 袴 0 闘 邨 61 9- a-b 4b 59 44-44 60 0-0 61 62 0-61-
4 40-66 0-9-44 63 9 4 64 9 4 65 9-00 0 99 40-4 66 000 0-000 4 67 0 9a-b 40-4 会 000-004 90-9 9-0 0 Wilt L. Idema, Banished to Yelang: Li Taibai Putting on a Performance, 4 004 9 - -62-
68 69 0 71 68 90 69 4 70 a 4 71 b 4-63-
4 75 49-9 44-4 77 72 0-73 00-4 74 9-90 75 0-4 9a-0a 0-0 76 77 0a-0b 4 78-9 -64-
79 80 4 啓 4 79-80 b-a a 9 81 Wilkerson Douglas Wilkerson, Shih and Historical Consciousness in Ming Drama, pp.112-114. 82 a a 4 83 4 49 84 b b 9 85 86 4-65-
89 90 91 87 b b 9 88 a 9b 0 89 a-b 4 0 90 a b 9 91-66-
9 93 94 9 49 92 - - 0 9-9 49-93 9 94 0-67-
四 結 語 95 95 99 4-68-
96 004 96 0-69-
失 序 之 抗 衡 王 九 思 曲 作 中 的 兩 種 歸 隱 靝 4- 關 鍵 詞 : 王 九 思 明 中 葉 散 曲 戲 曲 歸 隱 -70-
Contending with Displacement Two Forms of Retirement in Wang Jiusi s Songs and Drama Tian Yuan TAN After his official career imploded, Wang Jiusi (1468-1551) participated actively in qu writing and later became one of the major qu writers in the mid Ming. Focusing on his qu writings, including both sanqu and drama, this paper explores how Wang Jiusi coped with his displacement from the political and cultural center through his literary pursuits. Retirement is a major theme in Wang Jiusi s qu writings. Wang s representation of retirement shows distinct characteristics from the Yuan and Ming sanqu and drama on the same theme. Furthermore, his sanqu and drama also depict two different forms of retirement respectively. In his sanqu, Wang celebrated the joy of retirement, but he could only do so in the capacity of a dismissed official. The triumph of the world of withdrawal and retirement over the world of chaos and power politics is only achieved after Wang had already been rejected from his official career. In his drama Gujiu youchun, by contrast, instead of being dismissed, Du Fu was promoted to the post of Hanlin Academician. In the fictional world of the drama, Du Fu eventually chooses to retire, a power that neither he nor Wang Jiusi enjoyed in reality. The fictional form of drama has situated the protagonist and the author in a more powerful and subversive position with full control of their own destinies, and has created a more fully ideal path to retirement. Keywords: Wang Jiusi mid Ming sanqu drama retirement -71-
徵 引 書 目 沢 9 9-4 9 4 99 4 00 99 4 99 00-4 4 99 9 會 000 004 004 4 00 99 99 004 00 9 4 00 99 9-90 -72-
9 9 000 000 99 0 00-0 靝 00-9 9-004 4-99 9 9 9 94 94-00 004 00 0-9 9 9 994 Crump, James I. Songs from Xanadu: Studies in Mongl-Dynasty Song Poetry (San-ch ü). Ann Arbor: Center for Chinese Studies, the University of Michigan Press, 1983. Goodrich, L. Carrington and Chaoying Fang, eds. Dictionary of Ming Biography 1368-1644. New York: Columbia University Press, 1976. Idema, Wilt L. Banished to Yelang: Li Taibai Putting on a Performance. 4 004 9 -. Lian, Xinda. Qu Poetry. in How to Read Chinese Poetry: A Guided Anthology, ed. Zong-qi Cai. -73-
New York: Columbia University Press, 2008. 329-353. Tan, Tian Yuan 靝. Qu Writing in Literati Communities: Rediscovering Sanqu Songs and Drama in Sixteenth-Century North China. Ph.D. Dissertation, Harvard University, 2006.. The Wolf of Zhongshan and Ingrates: Problematic Literary Contexts in Sixteenth- Century China. Asia Major. Third Series, 20.1 (2007): 105-131. Wilkerson, Douglas Keith. Shih and Historical Consciousness in Ming Drama. Ph.D. Dissertation. Yale University, 1993. -74-