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明末散曲大家施绍莘的词曲别集《秋水庵花影集》,除了卷首有陈继儒等人和施绍莘本人的序言以外,卷内86篇套数,几乎每篇之后都有跋文,约四分之一的篇目有施绍莘自序。在篇后跋文中,除施绍莘本人的自跋、自记之外,另有陈继儒、沈璟等70多人参与了《秋水庵花影集》套数的评论,这在现存元明清散曲别集中可谓绝无仅有。施绍莘的卷内自序、自跋、自记,以及陈继儒、沈璟等人之他跋、他记、他评者,总计达228篇(段)。这些序跋文字,不仅文笔优美,而且具有丰富的曲学史意义,比如,可以凭其考察施绍莘的生平、散曲创作及其心路历程,可以探考晚明云间曲家的生活时代与创作环境,可以考知晚明云间曲家的曲作活动方式及南北曲的发展动向等。
In addition to the prologue of Chen Jiur et al. And Shi Shaoxin himself, there are 86 sets of volumes in the volumes of the volume. Almost every article has Postscript, about a quarter of the articles With Shi Shaoxin preface. In Postscript Postscript, in addition to Shi Shaoxin himself Postscript, self-record, and another Chen Ji, Shen Jing more than 70 people participated in the “Qiu Shui Nan Yan Hua Ji” sets of comments, which can be described in the existing Yuan and Ming Dynasty scattered novels Unique Shi Shaoxin’s volume within the sequence, since postscript, self-record, and Chen Jiru, Shen Jing et al postscript, he mind, his commentator, a total of up to 228 (paragraph). These prefaces and postscripts are not only beautifully written, but also rich in historical significance of music history. For example, they can examine Shi Shaoxin’s life, the creation of Sanqu and his mentality, and explore the life time and creative environment of Yunmengqun in Late Ming Dynasty. You can find out the late Ming music interracial music activities and the North-South song development trends.