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双线结构是中国古典戏曲的基本结构形态之一。前人研究往往就叙事文体来研究叙事结构,将戏曲与小说并置,忽略了更大的文学传统尤其是诗学传统对戏曲的影响。戏曲双线结构的起源可以追溯到古典诗学中的对仗结构,《孔雀东南飞》由单线衍生成双线即是其先声。早期南戏已经形成了较为工整的双线结构,《琵琶记》遵循着对仗结构“言对为易,事对为难,反对为优,正对为劣”的美学取向,完善了双线结构。而超越单纯工整的骈对,在此基础上以散对骈,进入“奇偶适变”的更高层面的辩证对应,本就是古典诗学的题中应有之意。元明以来,戏曲被逐步纳入“文体代嬗”的文学谱系中,自然也开始承续着更为广阔的文学传统:以家国兴亡对应工整的生旦离合,超越单纯骈对,形成了离合与兴亡并举的双重结构。
Two-line structure is one of the basic structural forms of Chinese classical opera. In previous studies, the narrative structure was often studied on the narrative style, which juxtaposed the opera with the novel, neglecting the influence of the larger literary tradition, especially the poetic tradition. The origins of the two-line structure of the opera can be traced back to the anti-battle structure in classical poetics. In the early stage of South opera, a relatively neat two-line structure has been formed. “Pipa” follows the aesthetics orientation of opposing structure, “making speech right and difficult, opposing good and right” and perfecting the dual structure . But beyond the purely neatness, on this basis, we should enter the dialectical correspondence at the higher level of “parity and adaptation” by means of loosely opposed to each other. This is what we should have in classical poetics. Since Yuan and Yuan dynasties, opera has been gradually incorporated into the literary pedigree of “literary genres and transmutations,” naturally beginning to inherit the broader literary tradition: the rise and fall of a nation corresponds to a neat reincarnation, surpassing pure simplicity and forming a The dual structure of both the clutch and the rise and fall.