The Construction and Review of the Wujiang School and Linchuan School: A Study of the History Research Books of Traditional Chinese Drama in the Republic of China

Abstract

Abstract: The naming of Wujiang Group and Linchuan School in the history of drama was established by drama historians of the Republic of China. Because these drama historians had neither defined the concept of School, nor had they reached a consensus and guidelines that should be followed in the division of the School. These drama history research books differed in the classification and number of dramatists. In interpreting the theory of the two factions, there is also a tendency to exaggerate the opposition between the two groups. Since the Republic of China, some drama historians had denied the existence of Linchuan School, largely because they used modern school theory to measure the ancient literary groups. Therefore, it is necessary to construct a theory which is in line with the actual development of ancient drama.

Key words: Drama History in Republic of China, Wujiang School, Linchuan School, Research

Cheng Huaping. The Construction and Review of the Wujiang School and Linchuan School: A Study of the History Research Books of Traditional Chinese Drama in the Republic of China[J]. Theoretical Studies in Literature and Art, 2017, 37(3): 78-87.

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(1)吴江派一名词隐派,强调戏曲格律,注重语言本色,又叫格律派或本色派;临川派又名玉茗堂派,创作重才情和曲意而不拘守音律,所以又被称为文采派。民国戏曲史家大都以籍贯或名号来称呼这两派。但称为文采派与格律派,或文采派与本色派,学界则多有异议。本文在行文过程中,根据具体语境而有“吴江派”“临川派”或“玉茗堂派”等不同称呼。
(2)徐朔方《汤显祖年谱》、黄芝冈《汤显祖编年评传》均认为汤显祖《玉合记题词》作于明万历十四年(1586年),则梅鼎祚《玉合记》应作于是年之前。汤显祖最早的剧作《紫钗记》,作于万历十二年(1584年)至十九年(1591年)南京太常寺博士任上,但直到二十一年(1593年)转任遂昌知县,他才完成了本剧创作。因此,梅鼎祚戏曲创作不大可能受到汤显祖影响。
(3)王骥德《曲律》有《论家数》一节,将戏曲分为“本色一家”和“文词家一体”,主要是从文辞着眼的。吕天成《曲品》也将明代传奇创作分为“藻绘”与“本色”两派,并提出“玉茗之派”“骈绮之派”与“上虞曲派”等概念,主要也是从文辞风格来梳理的。戏曲流派概念的出现是戏曲史研究成为现代学术后的结果。

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