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曲目书簿的著录水平,往往反映出一个特定阶段戏曲研究的开展面貌。我们在凭借曲目专书对清代古典戏曲作一些探索时,常会有这样的感受。距今八十多年前的清光绪三十四年(1908),王国维写定《曲录》,王氏的治曲兴趣专注于宋元,对明清戏曲几乎极少涉猎,特别是清代。在《曲录》里,清代部分的著录就显得最为贫乏,而且错误也最多,有的在今天看来,更是常识性的错误了。如将吴伟业的《通天台》、《临春阁》归入传奇;归庄的《万古愁》,嵇永仁的《扬州梦》归入杂剧;周稚廉《客居堂三种曲》,仅著录《双忠庙》、《珊瑚玦》两种,又
The record level of the repertory book often reflects the appearance of a particular stage of opera research. We often feel this way when we make some explorations of the classical operas of the Qing Dynasty through tracks and books. Twenty years ago, Emperor Guangxu thirty-four years ago (1908), Wang Guowei wrote “Qu Lu”, Wang’s song and song focuses on the Song and Yuan Dynasties, opera rarely traveled, especially the Qing generation. In Quotations, some of Qing dynasties’ writings are the poorest and the most mistakes, and some today are even more common sense mistakes. Such as Wu Weiye’s “Babel”, “Lin Chun Court” classified as legend; Guizhuang “Wan Guchu”, Yong Yong Ren’s “Yangzhou Dream” classified as zaju; Zhoulian Lian “Kejitang three kinds of songs,” only recorded “double Zhong Temple ”,“ coral 玦 ”two, again