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祁彪佳所作《远山堂曲品·剧品》承吕天成《曲品》之绪,以品论曲,然其指导精神、批评理念却较吕氏为胜,是明末曲坛所呼唤的批评理念,有很强的时代精神,在整个戏曲发展史上及戏曲理论发展史上都有着重要的推动意义。一、祁彪佳与吕天成批评理念之比较祁彪佳的《曲品叙》和吕天成的《曲品·自序》是总的阐述自己作《曲品》的批评理念和纲领性指导精神的一篇戏曲批评理论。祁彪佳自述作《远山堂曲品》是从吕天成的《曲品》得到的启发,吕天成的批评理念对祁彪佳必然有很大影响,但是
Qi Biao Jia made << far Shantang melodrama operas >> Cheng Lvtian Cheng << Qu goods >> of the thread, the article on the theme of the song, but its guiding spirit, criticism of philosophy than Lu’s victory, is the end of the Ming altar call Criticism concept, has a strong spirit of the times, has an important impetus in the entire history of the development of drama and the history of drama theory. I. Comparison between Qi Biaojia and Lu Tiancheng’s Criticism Criticism Qi Biaojia’s Qu Qu Syria and Lu Tiancheng’s Qu Yuan Preface are the general explanations of his criticism and programmatic guidance of “Qu” A Drama Criticism Theory. QI Biaojia’s self-criticism as “Yuan Shan Tang” is inspired by Lv Tiancheng’s “Songs”, and Lv Tiancheng’s criticism certainly has a great influence on Qi Biao Jia. However,