「才子佳人」如何包裝邊緣情慾？明清文人戲曲所見的同志情愛與變性慾想　153

前言 153

一、文人戲曲「才子佳人」格套及其對題材表現的影響  154

二、模擬「才子佳人」異性戀的同志情愛  159

三、「夢中轉女成男」與「男妝寫真」的變性慾想  171

結語：邊緣情慾的出口  182

【提要】

中國戲曲內涵豐富，劇目數量龐大，自宋元以降，呈現了多樣化的形態，多層面地刻劃了社會風貌，寫照了不同的時代精神。順應著當代戲劇研究趨勢與不斷變化的新穎概念，傳統戲曲總是能夠發現新的面向與之相應，經得住不同認知和觀點翻轉，反覆試探，它的鑽研空間愈經挖掘，愈覺可觀。

明清文人戲曲擅長抒情寫意，敷演愛情故事。一般總覺難脫「才子佳人」的格套。實則文人戲曲反映人情物理，並沒有被這樣的模套給框限住。除了男女之情，對於封建社會中的邊緣情慾，也頗有著墨。［明］王驥德的《男王后》、［清］李漁的《憐香伴》與楊恩壽的《桂枝香》都是描寫同性情愛的作品；而清代女劇作家吳藻的《喬影》、王筠的《繁華夢》和何珮珠的《梨花夢》則透顯出強烈的變性慾想。這些劇作以不同風格，或隱晦或誇張，表現人物曲折的內心世界，同時側寫了當時的社會風氣。

封建社會的邊緣情慾，在「才子佳人」包裝之下，或者被當作「異色」來滿足劇作者、閱讀者和觀賞者的聲色興味；或者透過「逸出」於「才子佳人」框架之外的許多的訊息，將人物多層次的精神叛逆宛轉托出。

關鍵詞：同性情愛、變性慾、才子佳人、邊緣情慾、女劇作家。

How Plays of “Learned Gentlemen & Fair Ladies” Smuggle Unorthodox Desires:

Homosexual Love and Transgender Desire in Ming-Qing Dramas

 Abstract

        Since the Song-Yuan Dynasties the Chinese theatre has become more and more diverse, representing various aspects of society that changed with the time and highlighting the spirit of each period. By taking cues from recent trends in theatre research, traditional theatre can be rediscovered and reevaluated. The meanings of traditional texts are not fixed; new insights can be gained from new research methods. The more the researchers approach these texts from different perspectives, the more space for new interpretations or revisionist viewpoints can be found.

The Ming-Qing dramas are noted for their lyrical portrayals of love stories. They often followed the conventions of “Learned Gentlemen and Fair Ladies.” However, they are not as predictable as they seem. In addition to love between male and female, marginalized relationships are also explored. For instance, Nan wang-hou by Wang Ji-de of Ming, Lian xiang ban by Li Yu of Qing, and Gui zhi xiang by Yang En-shou of Qing, all three touch upon homosexual love. Moreover, transgender desire can be detected in plays such as Qiao Ying by female dramatist Wu Zao, Fan-hua Meng by Wang Yun, and Li-hua Meng by He Pei-zhu. All these plays, by implication or exaggeration, dramatize the complex inner struggles of the characters and to some extent reflect the social climate of the time.

Marginalized desires cannot be condoned in a feudalistic society. However, under the harmless guise “Learned Gentlemen and Fair Ladies,” sexual deviations can be presented to satisfy the unorthodox imaginations of the dramatists as well as the viewers and to subtly demonstrate spiritual revolt on many levels.

（紀蔚然譯）

Key words: homosexual love, transgender desire, “learned gentlemen & fair ladies”, marginalized relationships, female dramatist.