戊 明清南雜劇
序 說··················································································215
第一章明清雜劇之著錄 ·························································216
一、“明雜劇體制提要”之統計 ················································ 220
二、“清雜劇體制提要”之統計 ················································ 224
第二章明清南雜劇演進之態勢 ················································226
一、明中期雜劇之“南曲化”與“文士化” ································· 226
二、明後期雜劇“昆山腔水磨調化”蛻變為“南雜劇”與“短劇” ··· 230
三、清代雜劇趨於短劇“辭賦化” ············································· 235
第三章明中期南雜劇作家作品述評 ··········································240
一、徐渭生平與《四聲猿》雜劇述評········································· 240
二、李開先、許潮、汪道昆三位短劇作家述評····························· 261
第四章明後期南雜劇作家作品述評 ··········································278
引 言 ················································································ 278
一、陳與郊《昭君出塞》《文姬入塞》《義犬記》與徐復祚《一文錢》述評
- ························································································ 278
二、瀋璟《博笑記》及吳江旗下王驥德《男皇後》、呂天成《齊東絕倒》、瀋自徵《漁陽三弄》、葉小紈《鴛鴦夢》述評 ······························ 290
三、葉憲祖《檞園雜劇》十二種述評········································· 315
四、傅一臣《蘇門嘯》十二種述評············································ 330
五、其他南雜劇諸家 ······························································ 335
第五章清順康間南雜劇、短劇作家與作品述評 ···························348
一、吳偉業及其他諸家 ··························································· 348
二、徐石麒及其他諸家 ··························································· 354
三、裘璉及其他諸家 ······························································ 365
附錄:無名氏《三幻集》 ························································· 373
第六章清雍乾間南雜劇、短劇述評 ··········································374
一、蔣士銓 ·········································································· 374