戲曲演進史：金元明北曲雜劇與明清南雜劇（四 下）

 
戊 明清南雜劇
序 說··················································································215
第一章　明清雜劇之著錄 ·························································216
一、“明雜劇體制提要”之統(tǒng)計 ················································ 220
二、“清雜劇體制提要”之統(tǒng)計 ················································ 224
 
第二章　明清南雜劇演進之態(tài)勢 ················································226
一、明中期雜劇之“南曲化”與“文士化” ································· 226
二、明后期雜劇“昆山腔水磨調(diào)化”蛻變?yōu)?ldquo;南雜劇”與“短劇” ··· 230
三、清代雜劇趨于短劇“辭賦化” ············································· 235
 
第三章　明中期南雜劇作家作品述評 ··········································240
一、徐渭生平與《四聲猿》雜劇述評········································· 240
二、李開先、許潮、汪道昆三位短劇作家述評····························· 261
 
第四章　明后期南雜劇作家作品述評 ··········································278
引 言 ················································································ 278
一、陳與郊《昭君出塞》《文姬入塞》《義犬記》與徐復(fù)祚《一文錢》述評 ························································································ 278 二、沈璟《博笑記》及吳江旗下王驥德《男皇后》、呂天成《齊東絕倒》、沈自徵《漁陽三弄》、葉小紈《鴛鴦夢》述評 ······························ 290
三、葉憲祖《檞園雜劇》十二種述評········································· 315
四、傅一臣《蘇門嘯》十二種述評············································ 330
五、其他南雜劇諸家 ······························································ 335
 
第五章　清順康間南雜劇、短劇作家與作品述評 ···························348
一、吳偉業(yè)及其他諸家 ··························································· 348
二、徐石麒及其他諸家 ··························································· 354
三、裘璉及其他諸家 ······························································ 365
附錄：無名氏《三幻集》 ························································· 373
 
第六章　清雍乾間南雜劇、短劇述評 ··········································374
一、蔣士銓 ·········································································· 374