杜仁杰 Du Renjie

杜仁杰（約1201—1283后），生卒年不確，濟(jì)南長清（今山東省濟(jì)南市西南）人，原名之元，字善夫，后改名仁杰，字仲梁，號止軒。他由金入元。金代正大年間（1224—1231）居住在內(nèi)鄉(xiāng)（今屬河南）山中。元滅金后屢次征召他為官，他均辭不受。杜仁杰性格幽默，才學(xué)宏富，擅寫詩文。他善于在作品中用通俗搞笑的筆法生動地描寫市井百姓的生活，再現(xiàn)當(dāng)時的社會場景，其詩文作品深得金元時期著名文學(xué)家元好問的贊賞。他的曲作，今僅存小令一首，套曲三套，數(shù)量十分有限，但特色鮮明，情趣盎然，流傳很廣。

Du Renjie（about 1201-1283 or later），known earlier as Zhiyuan and Shanfu，and only later as Renjie，and by his self-given names Zhongliang and Zhixuan，was born at Changqing（what is now South-west of Jinan，capital of Shandong Province）．A subject of the Jin Dynasty surviving into Yuan，he is known to have lived in the mountains of Neixiang（in what is now Henan Province）and frequently declined to take positions offered by the Yuan court．Humorously dispositioned，profoundly learned，and versed in writing，he has the reputation for works lively，wryly addressing life of commoners at the bottom of the society，depicting a world as it is．His works gained the attention and admiration of Yuan Haowen，a dominant literary figure at the time．His surviving works of qu are few，comprising one piece of xiaoling and three series of taoqu，which have been highly popular and are as animated，cheerful and singular as the composer himself.

耍孩兒·莊家不識構(gòu)闌^①

○杜仁杰

〔耍孩兒〕

風(fēng)調(diào)雨順民安樂，都不似俺莊家快活。桑蠶五谷十分收，官司無甚差科^②。當(dāng)村許下還心 愿^③，來到城中買些紙火^④。正打街頭過，見吊個花碌碌紙榜^⑤，不似那答兒鬧穰穰人多^⑥。

〔六煞〕

見一個人手撐著椽做的門^⑦，高聲的叫“請請”，道“遲來的滿了無處停坐”。說道“前截兒^⑧院本^⑨《調(diào)風(fēng)月》^⑩，背后¹¹幺末¹²敷演¹³《劉耍和》¹⁴”。高聲叫：“趕散易得，難得的妝哈¹⁵。”

〔五煞〕

要了二百錢放過咱¹⁶，入得門上個木坡¹⁷，見層層疊疊團(tuán)圞坐¹⁸。抬頭覷¹⁹是個鐘樓模樣²⁰，往下覷卻是人旋窩。見幾個婦女²¹向臺兒上坐，又不是迎神賽社²²，不住的擂鼓篩鑼²³。

〔四煞〕

一個女孩兒轉(zhuǎn)了幾遭，不多時引出一伙。中間里一個央人貨²⁴，裹著枚皂頭巾²⁵頂門上插一管筆²⁶，滿臉石灰更著些黑道兒抹。知他待是如何過？渾身上下，則穿領(lǐng)花布直裰²⁷。

〔三煞〕

念了會詩共詞，說了會賦與歌，無差錯。唇天口地?zé)o高下，巧語花言記許多²⁸。臨絕末²⁹，道了低頭撮腳，爨罷將么撥³⁰。

〔二煞〕

一個妝做張?zhí)淖鲂《?sup>31，行行行說³²向城中過。見個年少的婦女向簾兒下立，那老子用意鋪謀待取做老婆³³。教小二哥相說合³⁴，但要的豆谷米麥，問甚布絹紗羅³⁵！

〔一煞〕

教太公往前挪不敢往后挪，抬左腳不敢抬右腳，翻來覆去由他一個³⁶。太公心下實焦懆³⁷，把一個皮棒槌³⁸則一下打做兩半個。我則道³⁹腦袋天靈破，則道興詞告狀，刬地大笑呵呵⁴⁰。

〔尾聲〕

則被一胞尿，爆的我沒奈何⁴¹。剛捱剛?cè)谈葱﹥簜€⁴²，枉被這驢頹笑殺我⁴³！

【注釋】

1 莊家：即莊稼漢，指種莊稼的農(nóng)民。構(gòu)闌：即勾欄，也寫作“勾闌”，亦稱“勾欄瓦肆”，是宋元時期表演戲劇的場所，因用柵欄圍繞或用布幔隔擋而得名。本曲題目意思是，從農(nóng)村進(jìn)城的莊稼人不知道演戲這回事。

2 官司：指官府。差（chāi）科：這里指官府派給農(nóng)民的徭役賦稅等事項。

3 本句接前面內(nèi)容，是說今年豐收，諸事順利，多虧神靈保佑，所以在村子里許下心愿，要祭拜神靈以示感謝。

4 紙火：拜神祭祀用的紙錢、香燭等物品。

5 紙榜：這里指戲劇演出的海報，一般高懸在劇場入口處。

6 那答兒：那里。鬧穰穰：即鬧嚷嚷，人多擁擠。本句意為，在劇場門前，很多人看海報，熙熙攘攘，你推我擠，哪里都不如這個地方熱鬧。

7 椽做的門：用木椽做的簡易之門。

8 前截兒：即前半截兒，也就是整場演出的前半場。

9 院本：即演劇用的腳本。但在元代雜劇興盛之后，也常常以“院本”表示從宋代雜劇向元代雜劇過渡時期的較早的雜劇劇目，通常是由兩個角色演出的滑稽劇。

10 調(diào)風(fēng)月：雜劇劇目，內(nèi)容是講男女歡愛之事。關(guān)漢卿寫過《詐妮子調(diào)風(fēng)月》劇本，這里指類似的劇目。

11 背后：這里指演出的后半場。

12 幺末（yāomò）：也作“幺么”、“么末”，指早期的元雜劇，尤其是滑稽可笑的劇目。

13 敷演（fūyǎn）：上妝演出。敷：涂脂抹粉。

14 劉耍和：本是元代著名雜劇演員，這里是指元雜劇作家高文秀創(chuàng)作的雜劇《黑旋風(fēng)敷演劉耍和》。該劇本已失傳。

15 這里的“趕散”和“妝哈”是元雜劇的兩種演出形式。趕散，是趕場或插空臨時演出的音樂和散曲；妝哈，也寫作“裝合”或“裝呵”，是連本演出的劇目。

16 本句是說，把門人收了二百文錢，作為門票，放莊稼漢進(jìn)勾欄看演出。

17 木坡：木制的梯形看臺。

18 團(tuán)圞（tuánluán）坐：圍成圓圈形狀坐著。

19 覷（qù）：觀看。

20 鐘樓模樣：指演出高臺。

21 這里的婦女指伴奏和伴唱的女藝人，坐在臺邊。

22 迎神賽社：中國古代民間的節(jié)日習(xí)俗，逢年過節(jié)或逢神誕日，敲鑼打鼓迎神出廟，周游街巷，謂之“迎神”；每年秋季農(nóng)事完畢，則以酒食祭祀田神，祈求來年五谷豐登，并伴有各種民間演出和游樂，謂之“賽社”。所謂“社”即指“社稷之神”，亦即田地之神。

23 擂鼓篩鑼：擂、篩，這里都是敲打之意。鼓、鑼，是兩種打擊樂器，聲音鏗鏘，元雜劇演出的音樂伴奏中經(jīng)常用到。

24 央人貨：害人精?！把搿蓖把辍?，殃及、連累。

25 枚：量詞，一塊。皂頭巾：黑色頭巾。

26 本句說，演員頭上插著雉雞翎等長長的羽毛狀飾物，像個筆桿似的。

27 直裰（duō）：長袍。

28 這幾句是夸贊演員特別能說，全憑一張嘴，從頭說到尾，而且毫無差錯。

29 臨絕末：臨，將要，快要；絕末，罷了，盡了，結(jié)束。

30 宋元雜劇演出時，通常都有一段開場戲，由四五個演員表演一陣子，然后才開始演正劇。爨（cuàn），即是指這一小段開場戲。么撥（yāobō），即“幺末”，指雜劇演出的正劇。本段是說，開場的演員唱了半天之后，終于低下頭，收回腳，表示唱完了，接著就該演出正劇了。

31 妝做：裝作，扮演。小二哥：通常指店小二或小伙計一類人物。本句是說，一個演員裝扮成張?zhí)?，剛才那個演開場戲的演員改扮成小伙計。

32 行行行說：邊走邊說。

33 此二句說，看見簾子旁邊站著一個年輕女子，這個老頭就起了心要娶她做老婆。用意鋪謀：設(shè)計想辦法。待：打算，準(zhǔn)備。?。和ā叭ⅰ?。

34 說合：在男女之間保媒，當(dāng)中間人。

35 此二句說，不管女方家要什么東西，他都能滿足。但：只要。問甚：不用問。布絹紗羅：各種上好的布匹綢緞。

36 這幾句話寫張?zhí)珵榱巳⑵凉媚镒隼掀?，不得不任由小二哥隨意擺布。

37 懆（cǎo）：焦躁之意。

38 皮棒槌：用皮面包裹的棒槌，打人不疼，是舞臺道具。

39 我則道：我以為。這里有本不是這么回事，自己弄不明白的意思。

40 刬（chǎn）地：突然地，反而。這一段話是說，臺上在演戲，小二哥捉弄張?zhí)?，把張?zhí)羌绷?，情急之下把一個皮面包裹的棒槌打碎成兩半了。看戲的莊稼漢以為是把人家腦袋打破了，要吃官司了。正擔(dān)心時，張?zhí)托《绶吹构笮ζ饋怼?/p>

41 本句說，正看得高興，忽然覺得尿憋得慌。則：正說著。胞：同“泡”。爆：脹。沒奈何：受不了。

42 剛：勉強。捱（ái）：同“挨”，忍著。本句說，勉強忍著尿還想多看一會兒戲。

43 枉：枉然，白白地。驢頹（tuí）：罵人的臟話。本句是說，自己因為一泡尿憋不住，中途退場，沒有能看到下半場演出和精彩結(jié)局，因而被周圍看客打趣嘲笑。另有人認(rèn)為是說，莊稼漢為多看一會兒戲勉強憋著尿，因為臺上張?zhí)@個老東西實在太可笑了，所以他舍不得離開。兩說均通。

TUNE：PLAYING THE CHILD

A Peasant Knows Not the Theatre

Tune：Playing the Child

People live happy when in time blows wind and falls rain，

But as we peasants none’s so cheerful and gay

In bumper year of mulberry and grain

When no official disturbs us everyday.

My vow fulfilled，I should perform the rural rite，

So I go downtown to buy incense and candles bright.

As I pass by the fair，

I see colored ads hanging there.

Nowhere have I seen a more noisy crowd，nowhere！

Tune：The Last but Six

I see a man keep the gate open with one hand，

Crying loud：“Come in please，please！

Late，you’ll find the house full and nowhere to sit but stand.

First，actors will perform the Moon and Breeze，

And then the play of an actor well-known to this land.

It’s easy to find a place to enjoy and pause，

But hard to win your hearty applause.”

Tune：The Last but Five

I pay two hundred coins and I’m let in.

I enter，mount a wooden slope and hear a din.

I see an amphitheatre with seats in tier.

Looking up，I see a tower-like stage appear;

Looking down，I find the crowd like a whirlpool，

And women musicians sitting on the stool.

It is not a sacred procession long.

Why do I hear without cease drum and gong？

Tune：The Last but Four

For several rounds a maiden comes forth and back，

Then she leads a group of four from the rear.

Among them there’s a villain clown，

Whose head is wrapped in a hood black，

With a brush on the ear;

Whose face with lime is white，

Streaked with paint black as night.

What will he do？

From top to toe

He wears a motley gown.

Tune：The Last but Three

He reads some verse

And sings some song，

There’s nothing wrong.

Who knows which’s better and which worse？

I only remember many words sweet.

What at the end is said？

He bends his head and keeps close his feet.

After the prelude，the melodrama will be played.

Tune：The Last but Two

One actor plays the role of grandpa old，

Another acts the waiter of a wine shop.

They walk and talk of life，

And at the central place they stop，

Seeing a young woman standing under the screen.

The grandpa covets her as wife，

And asks the waiter to be go-between，

How much grain，rice，peas and wheat

She wants as dowry and how many feet

Of cloth，silk，satin and brocade，all told.

Tune：The Last but One

Told to go forward，ay！

The grandpa dare not backward go.

Told to raise his foot high，

He dare not put it low.

He turns back and forth as he is led，

Anxious at heart，he starts

And breaks the leather-wrapped hammer into two parts.

I mistake it for a broken head，

And fear they’ll go to court after，

But unexpectedly I hear them burst in laughter.

Tune：The Last Song

Hard pressed to pass water，I make for the door，

Though I try to hold it back so as to see more.

But how can I be set free？

I am afraid these sons of bitch will laugh at me.

【賞析】

元曲通常被劃分為劇曲和散曲兩大部分。劇曲是戲劇中的唱段，與劇情緊密相連。散曲則是獨立的唱段。散曲又可分為小令、帶過曲和套曲三種類型。小令，又稱“葉兒”，是只有一段的唱曲；帶過曲通常是由二到三支小令組合而成的，稍微長一些，而套曲又稱為“套數(shù)”、“散套”、“大令”，則是由同一宮調(diào)的多個曲牌連綴而成的大型組曲。本曲是一個套曲，即一個大型組曲。

這套曲是元曲中別開生面、輕松有趣的作品。它用莊稼漢自述形式介紹了元代城市居民觀看戲劇演出的實況，涉及演出的海報、劇場前招徠觀眾、門票、劇場布置、演出情況、劇本內(nèi)容、人物角色、化裝、配樂、演出效果等方面。雖然宋代城市中就已經(jīng)出現(xiàn)了戲劇演出，但普及程度遠(yuǎn)遠(yuǎn)不及元代。元雜劇在城市的興起是元代文學(xué)藝術(shù)發(fā)展的重要標(biāo)志之一，是值得大書一筆的。因而這首曲的出現(xiàn)受到人們的普遍關(guān)注。

作者巧妙地選取了一個以前從沒有看過戲劇演出的農(nóng)村莊稼漢做主人公，用他的眼光和思路帶著讀者進(jìn)入元雜劇演出的勾欄之中。正因為這位樸實的農(nóng)民對戲劇毫無所知，所以他的說法、比喻乃至一些誤解之處，常常令人捧腹。譬如，“又不是迎神賽社，不住的擂鼓篩鑼”一句寫出了莊稼漢的困惑：平白無故敲鑼打鼓干什么？但這也同時介紹了戲劇的伴奏，寫出了演出的熱烈場面?！澳盍藭姽苍~，說了會賦與歌，無差錯”一句則寫出了莊稼漢對演員的欽佩，如此長篇大論地背誦臺詞，竟然沒有絲毫差錯。最后憋尿一節(jié)更是寫得活靈活現(xiàn)——其實這也是實際情況中常有的事：寧可憋著尿，也希望多看一會兒演出。

本曲借莊稼漢之口說話，語言格外通俗，詼諧生動，讓讀者備感親切。全曲以敘事為主，按照莊稼漢進(jìn)城看戲的自然過程來描寫，思路清晰，有條不紊，其中夾雜著議論和搞笑，也使讀者看到了一個可愛的莊稼漢形象。

元雜劇劇本有不少流傳至今，成為中國早期戲劇史的寶貴資料。但關(guān)于演出現(xiàn)場的實況，史籍文獻(xiàn)中幾乎沒有記載，本曲填補了這個空白。本曲對演出實況的描述，真實、全面、生動、細(xì)致，成為研究中國古代戲劇史的珍貴資料，具有很高的史料價值。

Interpretation

Yuan qu is normally divided into juqu and sanqu，the former being verse for songs to comprise an opera and therefore textually related to its plot，while the latter being verse for songs each of which is independent．Sanqu is further divided into xiaoling，daiguoqu and taoqu．Of these，xiaoling comprises only one stanza，daiguoqu is usually composed of two or three pieces of xiaoling，while taoqu is a compact series of verses to the same tune，as is the above.

A unique，lively sample of such works，the above imitates the speaking voice of a countryman，relating what he finds novel and interesting about how he go to theatre and watch the performance，including the poster of the theatre，theatre people trying their best to solicit and collect an audience，and the tickets，the furniture inside the theatre，the performance itself，plot of the play，the actors and actresses，their make-up，the music，and what spectators think of the performance．Chinese theatre having had its first stage in the Song Dynasty，it is in Yuan that it reached the commoners and became popularized among them，which represents a milestone of Chinese literature and art．It is，maybe，for this reason that this work has won its popularity.

It is wise for the protagonist to play the role of a country folk who has never attended such performance，i.e．one who is ignorant enough about the theatre so as to make many extremely foolish remarks about what might appear normal to a theatre fan．For example，when he exclaims that“又不是迎神賽社，不住的擂鼓篩鑼”（literally：since it’s no time for the ceremony to usher out the goddess from the temple nor for the harvest celebration，why they beat the drums and strike the gongs），it must be because he gets a surprise from the noises，mistaking music for the theatre for scenes and noises he yearly experiences at the village ceremony and celebration．Just as foolishly he makes much fuss about how the actors and actresses “念了會詩共詞，說了會賦與歌，無差錯”，i.e．“read aloud many verses and chant several songs，all without making a slip of the tongue”．Then it must be sort of “black humor”to represent the country folk in the act of “holding in pee”（“則被一胞尿，爆的我沒奈何”）so as to see more of the performance，an act that looks rather absurd but is realistic and natural for country folks attending the exotic city entertainment for the first time.

This work recounts the adventure of a countryman in the city，in his own language，a language wildly playful and funny，and intimate to the ear of the reader．The work is largely narrative，in the natural order of what the country folk sees in the city，interwoven with his comments that must appear to be jests from the viewpoint of the reader．And for that we see a good-humored and happy country folk in the end.

Much of Yuan zaju works have survived to this day，comprising an initial element of Chinese theatre and providing important clues to its early history．This work is unusually significant because it vividly，authentically records theatrical performance as it was at the time．In this sense，it is a historical document too.