明末清初正值統治者的交替，使得舊朝人民在面對新執政者的態度出現差異，尤其是士大夫，相較於市井小民，他們的教育薰陶使得他們更關心時事，也因此他們的抉擇往往帶著濃厚的個人意識。無論是歸順或是隱逸，他們的肩上都背負著沉重的壓力，特別是具有遺民身分的人。本論文所要討論的黃周星即為明遺民的一員。 黃周星(1611-1680A.D.)，字九煙，又字景明，改字景虞，號圃庵、而庵，別號笑蒼道人、笑蒼子、汰沃主人、將就主人等。晚年變名黃人，字略似，別署半非道人。與同期文人相比，黃氏的名氣不大，文學創作不少，跨越領域也十分廣，包括談論唐詩的〈唐詩快〉、針對姓氏做整理的〈百家姓新箋〉，及其自況的〈楚州酒人歌〉、〈小半斤謠〉等，但這些作品並不特別引人注意，常為人提及的是他的戲曲理論《製曲枝語》，僅有十條，卻每每在今人論古典戲曲理論時被引述，然而他的作品未如李玉、吳偉業、阮大鋮等同期作家受到重視，反倒只有理論部分為人所重？再者，遺民對時代變遷的特有情感是否在他的作品有所呈現？與眾遺民劇作家相比，他的作品是否有其特出之處？這些都是筆者亟欲獲得的答案。 本論文分為四個章節，分別討論黃周星生平與交遊，其三部劇作及戲曲理論。希冀從此論文中能了解其劇作間的關連性及各本特有的意涵，並了解黃氏投注於劇中的情感來源與創作意圖。此外透析其戲曲理論，並與同時期其他同質性的評論加以比較，了解黃氏持論在整個中國戲曲理論的脈絡所佔地位。 The ruler replace during the end of Min dynasty and the start of Ching dynasty. The public concern changed when they face the new ruler. Comparing to normal people, the scholarships concerned more about political changes. They made their choices with individuality. Whether they yield to the new ruler or withdraw themselves from society. They, especially those who loyal to old dynasty, have to face heavy pressure. This essay is going to discuss one of those scholarships –Huang Chou Shin. Huang Chou Shin (1611-1680 A.D.) is not a famous one in his time. However, he has many creations in literature. The topics in his works are broad: he talked about the poems in Tan dynasty, the organization of Chinese last name, and some works about his lives. However, his essays did not show special appealing. People often refer to his theory of drama, which has just ten creeds that was always mentioned when we talk about classical drama. Do people only pay attention to those creeds? Does his writing present any special emotions to the replacing generation? Comparing to the contemporary writers, are there any special distinguishing in his literature? These are what we focus on. There are four chapters in this essay, which talk about Huang’s life, dramas, and creeds. From his drama, we hope that we can realize the special meanings and relations between his writings, and get the emotions he puts in his drama, and the purpose he creates it. Besides, we analysis his drama theories, and compare those to other contemporary theories. To show the important state Huang consist in the improving of Chinese drama.
