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標題: 談李漁以稗官為傳奇藍本的創作理念:以小說〈生我樓〉與傳奇《巧團圓》為例
作者: 劉幼嫻
關鍵字: 李漁;Li-Yu;傳奇;話本小說;生我樓;巧團圓;Chinese opera;Chuanqi;Chinese fiction;Shen-Wo-Lou;Qiao-Tuan-Yuan
出版社: 臺中市:國立中興大學文學院
Project: 興大人文學報, Volume 41, Page(s) 117-149.
Li-Yu (1611-1680) is a well-known opera writer and critic. His work on opera, chuanqi, is known as Shr-Zhong-Qi, and his work on opera criticism can be seen in Xian-Qing-Ou-Xi. In addition to his operas, people are also impressed by his works on fictions. He once said that "I am not the one who wouldn't like to get involved in poems and verses writing; nevertheless, I found opera writing is more attractive and it is not as simple as we think." His words revealed that he is very serious about his opera writing. Li-Yu's works are mainly short stories. Four pieces, selected from Wu-Sheng-Xi and Sh-Er-Lou, have been revised into chuanqis. Li-Yu claimed that fictions are the basis of drama, and all stories are completed not only by leading characters but also by other supporting roles. Vice versa, his fiction story "Wu-Sheng-Xi" also reveals that the structures and the methods he used in the fictions are adopted from opera writing. Sun-Kai-Di in "Li-Li-Weng and Sh-Er-Lou" made some criticism on the structures and methods that Li-Yu used in his fictions and operas; he also judged Li-Yu's rather dramatized fictions. This paper attempts to compare and analyze Li-Yu's fiction story, "Sheng-Wo-Lou" and his opera, Qiao-Tuan-Yuan which is revised from the fiction, then tries to discuss Li-Yu's attitude and opinions on opera creating that is based on the structures of fictions. Furthermore, this paper also aims to find out the features and limitations that might occur under these perspectives.

Appears in Collections:第41期

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