乞巧、愛情與經世－牛郎織女故事在古典戲曲中的表現

Qi-Qiao, a Love Affair, and the Governing Thoughts-The Expression of the Cowherd and the Weaving Maid Story in Chinese Classical Operas

10.6973/CJ.201212.0103

丘慧瑩(Hui-Yin Chiu)

牛郎織女 ； 雙星 ； 七夕 ； 乞巧 ； 張騫乘槎 ； the Cowherd and the Weaving Maid ； Twin Stars ； Qi-Xi ； Qi-Qiao ； Zhang Qian's taking raft story

國文學誌

25期（2012 / 12 / 01）

103 - 136

繁體中文

牛郎織女故事原是先民對天象的解釋，隨着時間的移轉，牛郎織女由天上雙星，被神格化、人格化、世俗化，進而成為人們熟知的牛郎織女七夕一會的故事。但檢視古典戲曲中的牛郎織女故事，並無一般人熟知的仙凡愛戀、結婚生子後被迫分離，經王母開恩，始得七夕一會的情節。而是依《荊楚歲時記》、《博物志》所載牛郎織女婚後廢耕怠織，導致玉帝發怒，迫使二人分離，只能七夕一會；或張騫乘槎溯河源遇織女故事。本文分將古典戲曲中有關於牛郎織女的故事，整理為三種類型：一為乞巧應節的作品；二為牛郎織女愛情的抒寫劇作；三為依託張騫乘槎溯河源以寄託經世抱負的劇作。乞巧應節類的作品歷史最久，但篇幅短小，內容簡單，著重在熱鬧的排場。具體描寫雙星愛情的劇作寥寥可數，鄒山的《雙星圖》雖以傳奇模式敘寫牛郎織女的出身、婚戀、分離、七夕一會，卻是目前唯一以牛郎織女為主角，且對二人為愛奮鬥的過程上著墨的作品。張騫乘槎類的作品，一般鮮少描寫文獻以外的部份；唯有李文瀚《銀漢槎》運用奇思妙想，將張騫乘槎故事進行變化，不只讓河清海晏的治平思想成為戲曲真正的主題，也讓牛郎織女的人物特色徹底轉變。

The story of the Cowherd and the Weaving Maid is actually the interpretations made by the ancient people when observing star signs. This story started with two stars and is made up from their deification, personification, and worldliness, and then further became a well known story in which a cowherd and a weaving maid meet only on Chinese Valentine's Day- Qi-Qiao (乞巧) or Qi-Xi (七夕). But when we review the story in any Chinese classical opera, we fail to find any of these well known scenarios such as the love affairs between supernatural beings and human beings, being forced to separate after getting married and having a baby, or being able to meet only on the day of Qi-Xi after the merciful permission of Wang-Mu (王母). Instead, the scenarios of the story adopted by the operas are according to the books Jing Chu suishiji (荊楚歲時記) and Bo Wu zhi (博物志) which includes the cowherd giving up farming and the weaving maid idling which infuriates the god Yu Di (玉帝) who finally forces them to separate but allows them to meet once a year only on the day of Qi-Xi. Other adopted scenarios are derived from a story in which Zhang Qian (張騫) meets both of the cowherd and the weaving maid while going upstream by raft in order to trace the source of the river.The research will classify the story of the Cowherd and the Weaving Maid adopted by the classical operas into three categories: one, the play works written specifically for the Qi-Qiao festival, second, the play works showing the love affair of the cowherd and the weaving maid, and the third, the play works showing the governing aspiration according to the story of Zhang Qian’s journey going upstream. The Qi-Qiao festival category has the longest history, however the length of each work is short, the content is simple and it emphasizes bustling and exciting scene arrangements. In the love affair category, there are very few works of plays which concretely describe the love affair. Twin Star Picture (雙星圖) by Zou Shan (鄒山), although it was written in a legend style in which it narrates the origin of the couple’s social class, their love and the marriage, their separation, and their only meeting time on Qi-Xi, is the only play portraying the couple as the leading roles and then going into detail about how they fight for their love for each other. The third category is Zhang Qian’s raft story trip, but it rarely describes things other than that which is in related literature. However, one exception to this is the work Yin Han cha (銀漢槎) by Li Wen-Han (李文瀚) in which he uses wonderful thoughts to vary Zhang Qian’s story of taking a raft upstream. He not only depicts governing thoughts for bringing peace and prosperity as the true main theme of the opera but fundamentally changes the characteristics of the roles, the cowherd and the weaving maid.

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