王国维把戏曲析解出三个要素:“歌、舞、事”,且以事统驭歌舞。以故事为中心,王国维实际上是在抒情叙事两分法的明确语境中把戏曲判定为叙事。但如溯其立论路径,则可发现戏曲之为叙事,乃是一种取证于历史的实然判断。作为一种戏曲观,如果不能在其实然判断中升华出一种美学的应然判断,就无法照亮戏曲。那么,我一定要追问,王国维的此一实然判断本身就是一应然判断吗?我想到金圣叹那种取证经典的评点学,或许,两种路径可以对勘。 Wang Guowei drama analysis of three elements: “songs, dance, thing”, and to control song and dance. With the story as the center, Wang Guowei actually judged the drama as a narrative in the clear context of lyric narrative dichotomy. However, if we trace the path of his argument, we can find that drama is a narrative, which is a kind of true judgment of evidence in history. As a concept of opera, drama can not be illuminated unless it can be sublimated in its true judgment. So, I have to ask, Wang Guowei this fact is a matter of fact to judge it? I think of the kind of evidence of Jin Shengtang commentaries, perhaps, the two paths can be reconnaissance.