世界汉学大会2009——文化对话与当代汉学

黄仕忠 中山大学

Huang, Shizhong, Sun Yat-sen University

 

 

原文Original

日本明治时期（1868-1912）的中国戏曲研究考论

日本现代学术意义上的中国戏曲研究，始于明治时期。在西方的文学观念与思想观念的影响下,戏曲小说作为文学的重要组成部分，受到人们的关注，使得中国本土向来不登大雅之堂的戏曲，一跃成为中国文学研究的重要对象。

早在明治二十年（1887）前后，汉诗人森槐南等就开始研读中国戏曲小说，甚至尝试写作传奇。1891年3月14日，森槐南在文学会以“支那戏曲一斑”为题作演讲。这是日本第一个关于中国戏曲的专题演讲。随后森槐南发表了《西厢记的读法》一文，是为日本现代学术意义上中国戏曲研究的发轫之作。当时，森槐南还在东京专门学校（早稻田大学的前身）讲授词曲史，同时也讲授了有关戏曲的知识。至1899年，森槐南出任东京大学讲师，继续授讲词曲。1911年森槐南死后，其讲义由学生记录出版，名《作诗法讲话》，其第五章“词、曲与杂剧、传奇”，即讲述了中国戏曲的来源与流变。其讲义残稿《词曲概论》，凡十一章，后六章作：词曲之分歧、乐律之推移、俳优搬演之渐、元曲杂剧考、南曲考、清朝之传奇。因此，森槐南才是日本第一位在大学中讲授中国戏曲的学者。他的工作，影响了久保天随、盐谷温等人。

幸田露伴的《元时代的杂剧》（1894），则是第一篇系统研究与介绍元杂剧的论文，真正意义上开日本元曲研究的先河。

在明治二十年代至三十年代初，以森槐南为中心的汉学家、汉诗人，以森鸥外、幸田露伴为中心的作家、评论家（同时也是戏剧家与戏剧评论家），构成了一个圈子，他们以作家兼文学评论家的身份，从日本近代文学创作与评论的角度，为了从中国文学中吸取营养而研讨中国诗词、小说、戏曲，从而开拓了一个新的领域。

明治三十年（1897）前后，一批新晋的东京帝国大学毕业的“文学士”，在接受西方学术思想的系统训练之后，将其眼光投入东方，致力于中国文学史的研究与撰作。其中1896年毕业于史学科的笹川临风，更是将热诚投注于中国戏曲小说，成果斐然。他在1897年刊出《支那的戏曲》等文，出版《支那小说戏曲小史》、《支那文学大纲·李笠翁》二书；次年又继续刊出《支那文学大纲·汤显祖》、《支那文学史》（内有小说戏曲专章），标志着日本的中国戏曲史研究迎来第一个高潮。

到明治末期，狩野直喜、盐谷温等人以实证的方式研究戏曲，与王国维的戏曲研究（1906—1913）风云际会，为大正及昭和前期日本之中国戏曲研究的兴盛，奠定了基础。

事实上，明治时期的中国戏曲研究，已经涉及到杂剧、南戏、传奇、剧场、舞台、音乐等诸多方面，其研究已经具有很强的系统性。

王国维关注中国戏曲史，以及他的总结性著作《宋元戏曲史》（1913）的撰作，显然曾经受到此前日本学者著述的影响。例如他在《三十自序》中说“元之杂剧，……其中以文字虽有佳者，然其思想及结构，虽欲不谓至幼稚至拙劣不可得也”，与临风说元剧“论以词采虽不乏名篇，就其结构所见，若从戏剧之意义上观之，支那之戏曲，犹是稚气纷纷耳”，甚为相似。此外，用悲剧的观念看中国戏曲，高度评价《窦娥冤》等，均可见出日本学者的影响。他的某些批评性的话语，显然针对的是日本学者的观点。

而王国维的《宋元戏曲史》问世，又令日本学界“大受刺激”（盐谷温语），从而促成大正及昭和初日本的元曲研究的兴盛。因此，今天我们在高度评价王国维、狩野直喜、盐谷温等人的戏曲研究成果时，不能忘记森槐南、幸田露伴、笹川临风等人的开创功绩。

 

译文Translation

The Research of Chinese Drama in the Meiji Period of Japan

The Japanese scholars, as the earliest researchers who focused on Chinese drama, began to study Chinese drama in the Meiji period. Japan was influenced significantly by western concepts because of the policy to learn from the West after the Meiji Revolution. Soon drama, the folk art of China, became an important subject in the field of the study of Chinese literature in Japan.

Mori Kainan, Kōda Rohan, Sasagawa Rinpū, who made great contribution on Chinese drama, were the outstanding figures among these Japan scholars.

Mori Kainan began to read Chinese dramas and novels as early as around the 20^th year of Meiji period. He even tried to write a drama named Bu Chun Tian Chuanqi, about the story of Feng Xiaoqing. He made the first special speech about Chinese drama in March 14, 1891. Soon after, he published a paper named the method of reading Xi Xiang Ji, which started the Chinese drama study in modern Japan academic history. Mori Kainan was also the first professor who taught Chinese Ci and Qu in a Japanese university. When he worked at Tokyo Academy School and Tokyo University, he taught the knowledge about Ci and Qu、Zaju and Chuanqi and influenced later scholars such as Kubo Tenzui and Shionoya On.

In the twenties and early thirties of the Meiji Period, poets such as Mori Kainan and writers like Mori Çgai and Kōda Rohan formed a research circle to read and study Chinese classical poetry, drama and novel, in order to learn from Chinese literature. Kōda Rohan became the forerunner in the research field of drama of Yuan Dynasty by publishing a paper named the Zaju of Yuan Dynasty.

Around the 30^th year of the Meiji Period, some bachelors graduated from Tokyo Imperial University, being trained by the Western educational system, devoted to study the history of Chinese literature. Sasagawa Rinpū, who graduated in 1896, major in history, focused on Chinese drama and made great achievements. His writings include the Chinese Drama, the Brief History of Chinese Drama, the Outline of Chinese Literature·Li Liweng, the Outline of Chinese Literature·Tang Xianzu, the history of Chinese Literature and so on. His achievement marked the first prosperous period of the study of Chinese drama.

At the end of Meiji Period, Kano Naoki and Shionoya On studied Chinese drama by using factual evidence, which agreed with Wang Guowei’s research. They laid the foundations for the prosperous development of the study of Chinese drama in the Taishō and early Shōwa periods. In fact, the research of Chinese drama in the Meiji Period had involved not only many types of drama including Zaju、Chuanqi and Nanxi, but also many key elements of drama such as theater、stage and music. It had been an organized research system.

Wang Guowei focused on the study of Chinese drama and later wrote the great masterpiece The History of Drama in the Song and Yuan Dynasties. It was obviously influenced by Japanese scholars. On the other side, his works stimulated the Japanese academy and contributed to the prosperity of Yuanqu studies in the Taishō and early Shōwa periods.