摘要
在现存的几部郑廷玉杂剧中,《疏者下船》的版本差异问题是最为突出的。20世纪以来,对《疏者下船》做过具体研究的绝大多数学者要么对其版本不作明确的价值判断,要么极力肯定元刊本的价值而大肆贬低明刊本,实有"众口铄金、积毁销骨"之势。这种现象对我们今天如何客观评价《疏者下船》乃至整个元杂剧版本仍具有不可低估的影响。通过对《疏者下船》现存诸版本的仔细比较和论证,我们发现:《疏者下船》的元、明两类刊本在故事情节、伦理逻辑、戏剧立意乃至曲词宾白等方面均存在明显的继承关系,明刊本对元刊本的增删修改具有艺术的合理性和历史的必然性。
Among the several plays by Zheng Tingyu,A Narrow Escape of Zhaowang the King of Chu on a River is the one provoking arguments on its different versions.Since the 20th century,many scholars devoted to the research of this work either avoid evaluating its different versions or appreciate its Yuan versions while depreciating its Ming versions,which has inevitably hindered an objective review of this play and even of all the Yuan operas.Through a detailed comparison and research,it can be found that the different versions of this play in the Yuan and Ming Dynasties show the evident inherent relationship in the plot,the logic,the conception,the music and the lines.The revised versions in the Ming Dynasty reflect the artistic rationality and historical necessity.
出处
《东南大学学报（哲学社会科学版）》
CSSCI
2008年第3期81-85,共5页
Journal of Southeast University(Philosophy and Social Science)
