包邮戏曲演进史四:金元明北曲杂剧(下)与明清南杂剧

戊 明清南杂剧 序 说··················································································215 **章　明清杂剧之著录 ·························································216 一、“明杂剧体制提要”之统计 ················································ 220 二、“清杂剧体制提要”之统计 ················································ 224 第二章　明清南杂剧演进之态势 ················································226 一、明中期杂剧之“南曲化”与“文士化” ································· 226 二、明后期杂剧“昆山腔水磨调化”蜕变为“南杂剧”与“短剧” ··· 230 三、清代杂剧趋于短剧“辞赋化” ············································· 235 第三章　明中期南杂剧作家作品述评 ··········································240 一、徐渭生平与《四声猿》杂剧述评········································· 240 二、李开先、许潮、汪道昆三位短剧作家述评····························· 261 第四章　明后期南杂剧作家作品述评 ··········································278 引 言 ················································································ 278 一、陈与郊《昭君出塞》《文姬入塞》《义犬记》与徐复祚《一文钱》述评························································································ 278二、沈璟《博笑记》及吴江旗下王骥德《男皇后》、吕天成《齐东绝倒》、沈自徵《渔阳三弄》、叶小纨《鸳鸯梦》述评 ······························ 290 三、叶宪祖《檞园杂剧》十二种述评········································· 315 四、傅一臣《苏门啸》十二种述评············································ 330 五、其他南杂剧诸家 ······························································ 335 第五章　清顺康间南杂剧、短剧作家与作品述评 ···························348 一、吴伟业及其他诸家 ··························································· 348 二、徐石麒及其他诸家 ··························································· 354 三、裘琏及其他诸家 ······························································ 365 附录：无名氏《三幻集》 ························································· 373 第六章　清雍乾间南杂剧、短剧述评 ··········································374 一、蒋士铨 ·········································································· 374