摘要
据谢三秀《远条堂草》编年及收诗情况看,其《听卢姬歌二首》诗确应作于贵州,但诗中并无明确的昆腔演唱指向。首先,以“串珠”喻指歌声并非昆山腔专利,而是单纯对特定音声效果的形象性表达。除昆山腔外,海盐腔、弋阳腔、北曲与弦索新声等唱腔皆可以珠喻之。其次,“文莺百啭”及“箜篌十五弦”句指向弦索弹唱的可能性更大,从乐器配奏习惯辨,这恰是与昆腔唱法相对的曲唱形式。故单就诗歌本身提供的信息,并不能简单推测卢姬所歌为昆腔,相应地亦不宜将此诗作为万历年间昆腔入黔的证据。
According to the chronology of Xie Sanxiu's Yuan Tiao Tang Chao and the style of his collection,the Two Poems of Listening to Lu Ji must have been written in Guizhou.However,there is no any obvious melody of Kun Tune in the poems.First of all,the metaphor of"string beads"refers to the singing,which is not exclusive to Kunshan tune,but merely a vivid description of specific sound effect.Besides Kunshan tune,Haiyan tune,Yiyang tune,Beiqu tune and Xiansuo Tune can all be compared with"string beads".Secondly,Wenying Baizhuan and Kongho Fifteen Strings more probably refer to the playing and singing of Xiansuo Tune.From the perspective of musical instrument playing habits,this is exactly the singing form opposite to Kun tune singing.Therefore,from the information provided by the poem itself,it is not easy to speculate that the poems of palace maids belong to Kun Tune,and accordingly,it is not appropriate to take the poem as the evidence of the entry of Kun Opera into Guizhou during the Wanli period.
作者
王凤杰
WANG Feng-jie(School of Chinese Language and Literature,Guizhou Minzu University,Guiyang,Guizhou,550025)
出处
《贵州师范学院学报》
2021年第5期15-21,共7页
Journal of Guizhou Education University
基金
贵州省2017年社科规划项目“清代贵州戏曲活动研究”(编号:17GZYB68)。
关键词
谢三秀
昆腔
弦索
贵州
Xie Sanxiu
Kun Tune
Xian Suo Tune
Guizhou
