此《红楼梦传奇》是一部红楼梦曲本,清代戏曲作家陈钟麟填词。全书共八卷八十折(由仙引,渭阳,情觑至寄奴,宴戒,幻圆),书眉镌评。其情节脉络基本上按照程高本一百二十回《 红楼梦》 的故事敷演改变而成。此为清道光时期粤东省城西湖街汗青斋刊本。
“填词”在宋代指写词,如《 诗话总龟》后集卷三十二引《 艺苑》 云:“当时有荐其(柳永)才者,上曰:‘非得填词柳三变乎?’曰:‘然。’上曰:‘且去填词! ”,到清代,“填词”又指写作传奇或杂剧;有时用作名词,径指传奇或杂剧。如李渔《闲情偶寄》 云:“填词之设,专为登场。”(介绍参考:题陈厚甫红楼梦填词)
清代红楼唱本极多,仲云涧、荆石山民等亦皆有同名著作行世。其中尤以陈氏本最受欢迎,后日戏场中流行者即为此本,对于考订《红楼梦》在民间的戏曲演变历程有着重要意义。
陈钟麟(1763—1840),清代戏曲作家,字肇嘉,号厚甫,苏州(今属江苏)人。嘉庆四年(1799)进士,官至浙江杭嘉湖道。博通经史,尤工时文。
注:此PDF文件包含分卷折书签。框19.1 x 12.1 厘米,9 行 19 字。左右双栏下黑口无鱼尾,版心上镌"紅樓夢"及卷次卷名,卷末镌"粤東省城西湖街汗青齋承刊"。
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文件名:红楼梦传奇.8卷.清陈钟麟填词.清道光时期汗青斋刊本
“填词”在宋代指写词,如《 诗话总龟》后集卷三十二引《 艺苑》 云:“当时有荐其(柳永)才者,上曰:‘非得填词柳三变乎?’曰:‘然。’上曰:‘且去填词! ”,到清代,“填词”又指写作传奇或杂剧;有时用作名词,径指传奇或杂剧。如李渔《闲情偶寄》 云:“填词之设,专为登场。”(介绍参考:题陈厚甫红楼梦填词)
清代红楼唱本极多,仲云涧、荆石山民等亦皆有同名著作行世。其中尤以陈氏本最受欢迎,后日戏场中流行者即为此本,对于考订《红楼梦》在民间的戏曲演变历程有着重要意义。
陈钟麟(1763—1840),清代戏曲作家,字肇嘉,号厚甫,苏州(今属江苏)人。嘉庆四年(1799)进士,官至浙江杭嘉湖道。博通经史,尤工时文。
注:此PDF文件包含分卷折书签。框19.1 x 12.1 厘米,9 行 19 字。左右双栏下黑口无鱼尾,版心上镌"紅樓夢"及卷次卷名,卷末镌"粤東省城西湖街汗青齋承刊"。
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文件名:红楼梦传奇.8卷.清陈钟麟填词.清道光时期汗青斋刊本
如果从人类学的角度来观察,笋是食物,更是文化的表达,特别是吃笋艺术化或是艺术地来吃笋成为一种“时尚”后,这几乎可成定论了。食笋之第一义是要求要鲜。中国的著名生活享乐家李渔曾写道:“论蔬食之美者,曰清、曰洁、曰芳馥、曰松脆而已矣,不知其至美所在、能居肉食之上者只在一字之鲜。《记》曰“甘受和,白受采”,鲜即甘之所从出也。此种供奉,惟山僧野老躬治园圃者得以有之,城市之人向卖菜佣求活者不得与焉。然他种蔬食,不论城市山林,凡宅旁有圃者,旋摘旋烹,亦能时有其乐。至于笋之一物,则断断宜在山林,城市所产者任尔芳鲜,终是笋之剩义。此蔬食中第一品也,肥羊嫩豕何足比肩!但将笋肉齐烹,合盛一簋,人止食笋而遗肉,则肉为鱼而笋为熊掌可知矣。购于市者且然,况山中之旋掘者乎?”闲情偶寄·饮馔部·蔬食第一·笋〔清〕 李渔他把鲜,把笋之鲜作为“第一性原理”来立论,在他这里,笋有一种精神必须把持。请注意他把笋与其它蔬食区分开来,并且作了非凡的拔高。元代《遵生八笺》中罗列多雅事,其中有“西溪楼啖煨笋”说:西溪竹林最多,笋子的产量也丰富。但笋味之美,很少有人真正尝到。每到春季的中期,笋子出土后正得肥壮,应在竹林里面,将竹叶扫来当柴煨煮竹笋,熟后用刀切剥来吃,竹笋清味,鲜美无比。世人这些庸俗的肠子,岂容他们来知道这真正的味道。他们的所说,祖本应当都是宋代《山家清供》里十分作的“傍林鲜” 一菜(如果这算菜的话):《山家清供》:“夏初林笋盛时,扫叶就竹边煨熟,其味甚鲜,名曰傍林鲜。”这种接近“虐食”的创造得到许多文人雅士的即使不是效仿也一定是推崇,庶几能说明他们要竹笋之“鲜”,在没有冰箱的时代到了多么病态的地步。《往日炊烟.八七.菜史.笋十一》现代仿制的“傍林鲜”:
#每日中华文化专词双译# 【脱窠臼】
脱窠臼 Avoid Stereotypes
指戏曲创作应摆脱陈旧的创作模式。所谓窠臼,不仅指以往作品的窠臼,还包括创作者个人的窠臼。由明末清初曲论家李渔(1611—1680)在《闲情偶寄》中提出。李渔认为,戏曲创作的取意、填词应力求新颖,不能蹈袭前人,才可称得上“传奇”。这一术语的提出既是为了满足观众的审美心理,也体现了文艺创作必须创新求变的宗旨。
This term means that a writer should not fall into old patterns when writing a drama. He should not only avoid stereotypes of previous works but also resist attempts to do so in his own creations. The term was proposed by late Ming to early Qing drama theorist Li Yu (1611-1680) in his "Occasional Notes with Leisure Motions." In his view, dramatic creations should be original in both content and wording, and previous works should not be blindly followed. Only such works deserve to be called chuanqi (legendary story). This call to avoid stereotypes was made to encourage creativity and variety in artistic pursuit to delight the audience.
引例 Citation:
◎吾谓填词之难,莫难于洗涤窠臼,而填词之陋,亦莫陋于盗袭窠臼。(李渔《闲情偶寄·词曲部》)
我认为填写曲词的困难之处,莫过于洗净一切陈旧的套路,而填写曲词的鄙陋之处,也莫过于盗取袭用已有的套路。
The greatest difficulty in writing lyrics, I believe, lies in ridding them of stereotypes, and the thing not to do when writing such lyrics is to copy old stereotypes. (Li Yu: Occasional Notes with Leisure Motions)
脱窠臼 Avoid Stereotypes
指戏曲创作应摆脱陈旧的创作模式。所谓窠臼,不仅指以往作品的窠臼,还包括创作者个人的窠臼。由明末清初曲论家李渔(1611—1680)在《闲情偶寄》中提出。李渔认为,戏曲创作的取意、填词应力求新颖,不能蹈袭前人,才可称得上“传奇”。这一术语的提出既是为了满足观众的审美心理,也体现了文艺创作必须创新求变的宗旨。
This term means that a writer should not fall into old patterns when writing a drama. He should not only avoid stereotypes of previous works but also resist attempts to do so in his own creations. The term was proposed by late Ming to early Qing drama theorist Li Yu (1611-1680) in his "Occasional Notes with Leisure Motions." In his view, dramatic creations should be original in both content and wording, and previous works should not be blindly followed. Only such works deserve to be called chuanqi (legendary story). This call to avoid stereotypes was made to encourage creativity and variety in artistic pursuit to delight the audience.
引例 Citation:
◎吾谓填词之难,莫难于洗涤窠臼,而填词之陋,亦莫陋于盗袭窠臼。(李渔《闲情偶寄·词曲部》)
我认为填写曲词的困难之处,莫过于洗净一切陈旧的套路,而填写曲词的鄙陋之处,也莫过于盗取袭用已有的套路。
The greatest difficulty in writing lyrics, I believe, lies in ridding them of stereotypes, and the thing not to do when writing such lyrics is to copy old stereotypes. (Li Yu: Occasional Notes with Leisure Motions)
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