詩筆與史筆：論蔣士銓《一片石》雜劇的詩體淵源及其歷史反思

「戲曲詩歌化」是有清一代文人劇的常見現象。對此，論者往往從題材內容和語言風格的角度加以探討，卻較少涉及形式範疇。本文通過考察清代戲曲大家蔣士銓（1725-1785）的雜劇《一片石》，探討清代戲曲（曲體）與古典詩歌（詩體）交涉互融的情況。相對於字面、修辭或典故的相彷彿，《一片石》與「懷古詩」傳統的聯繫，更體現在其精神意蘊和結構形式。一方面，此劇承繼了「懷古詩」著力抒情的審美特徵以及其敘事模式（如「登山臨水」、「訪謁祠廟」和「憑弔墓塚」）。另一方面，此劇又突破了「懷古詩」相對單一的視角，轉而借助不同敘述者的視點，反覆追懷弔唁，從而形成深重的歷史感。本文進一步指出，《一片石》之撰作，不僅發揮著傳播先賢事跡、建構地方記憶的功能，更是蔣士銓調解、安頓自己內心的過程。得益於戲曲文體的體制特點，劇作呈現出深刻的歷史反思，也寄寓著劇作家個人對道德與人生、歷史與書寫等命題的探詢。

The poeticization of classical Chinese drama was a prominent feature of Qing literati dramas. Jiang Shiquan 蔣士銓 (1725-1785), a famous late-imperial Chinese playwright, poeticized his plays. Focusing on Jiang's play Yipian shi 一片石, this article examines the generic integration and tension in the work. I argue that the lyricism and narrative structure of this play originates from the poetic tradition of ＂Meditation on the Past＂ (huaigu懷古). Yet it also transcends huaigu poetry, which often adopts a single person perspective, by repeatedly meditating on and lamenting the past through the perspectives of different narrators. The creation of this dense historical memory serves a dual purpose: it not only helps construct local memories and spreads the reputation of local historical figures but also settles the playwright's mind. The stylistic characteristics of drama, in other words, carve out a space for the profound reflection on such issues as history, morality, life, writing, and their interrelationships.