杜仁杰 Du Renjie
杜仁杰（約1201—1283后），生卒年不確，濟(jì)南長(zhǎng)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(hào)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(shī)文。他善于在作品中用通俗搞笑的筆法生動(dòng)地描寫市井百姓的生活，再現(xiàn)當(dāng)時(shí)的社會(huì)場(chǎng)景，其詩(shī)文作品深得金元時(shí)期著名文學(xué)家元好問(wèn)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(shí)構(gòu)闌①
○杜仁杰
〔耍孩兒〕
風(fēng)調(diào)雨順民安樂(lè)，都不似俺莊家快活。桑蠶五谷十分收，官司無(wú)甚差科②。當(dāng)村許下還心 愿③，來(lái)到城中買些紙火④。正打街頭過(guò)，見(jiàn)吊個(gè)花碌碌紙榜⑤，不似那答兒鬧穰穰人多⑥。
〔六煞〕
見(jiàn)一個(gè)人手撐著椽做的門⑦，高聲的叫“請(qǐng)請(qǐng)”，道“遲來(lái)的滿了無(wú)處停坐”。說(shuō)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?！?/p>
〔五煞〕
要了二百錢放過(guò)咱16，入得門上個(gè)木坡17，見(jiàn)層層疊疊團(tuán)圞坐18。抬頭覷19是個(gè)鐘樓模樣20，往下覷卻是人旋窩。見(jiàn)幾個(gè)婦女21向臺(tái)兒上坐，又不是迎神賽社22，不住的擂鼓篩鑼23。
〔四煞〕
一個(gè)女孩兒轉(zhuǎn)了幾遭，不多時(shí)引出一伙。中間里一個(gè)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(guò)？渾身上下，則穿領(lǐng)花布直裰27。
〔三煞〕
念了會(huì)詩(shī)共詞，說(shuō)了會(huì)賦與歌，無(wú)差錯(cuò)。唇天口地?zé)o高下，巧語(yǔ)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(gè)妝做張?zhí)?，他改做小二?sup>31，行行行說(shuō)32向城中過(guò)。見(jiàn)個(gè)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(shuō)合34，但要的豆谷米麥，問(wèn)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(lái)覆去由他一個(gè)36。太公心下實(shí)焦懆37，把一個(gè)皮棒槌38則一下打做兩半個(gè)。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(méi)奈何41。剛捱剛?cè)谈葱﹥簜€(gè)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(shí)期表演戲劇的場(chǎng)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(xiàng)。
3 本句接前面內(nèi)容，是說(shuō)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(bào)，一般高懸在劇場(chǎng)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(chǎng)門前，很多人看海報(bào)，熙熙攘攘，你推我擠，哪里都不如這個(gè)地方熱鬧。
7 椽做的門：用木椽做的簡(jiǎn)易之門。
8 前截兒：即前半截兒，也就是整場(chǎng)演出的前半場(chǎng)。
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(guò)渡時(shí)期的較早的雜劇劇目，通常是由兩個(gè)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(ài)之事。關(guān)漢卿寫過(guò)《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(chǎng)。
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(chǎng)或插空臨時(shí)演出的音樂(lè)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(shuō)，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(tái)。
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(tái)。
21 這里的婦女指伴奏和伴唱的女藝人，坐在臺(tái)邊。
22 迎神賽社：中國(guó)古代民間的節(jié)日習(xí)俗，逢年過(guò)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(lái)年五谷豐登，并伴有各種民間演出和游樂(lè)，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(lè)器，聲音鏗鏘，元雜劇演出的音樂(lè)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(shuō)，演員頭上插著雉雞翎等長(zhǎng)長(zhǎng)的羽毛狀飾物，像個(gè)筆桿似的。
27 直裰（duō）：長(zhǎng)袍。
28 這幾句是夸贊演員特別能說(shuō)，全憑一張嘴，從頭說(shuō)到尾，而且毫無(wú)差錯(cuò)。
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(shí)，通常都有一段開(kāi)場(chǎng)戲，由四五個(gè)演員表演一陣子，然后才開(kāi)始演正劇。爨（cuàn），即是指這一小段開(kāi)場(chǎng)戲。么撥（yāobō），即“幺末”，指雜劇演出的正劇。本段是說(shuō)，開(kāi)場(chǎng)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(jì)一類人物。本句是說(shuō)，一個(gè)演員裝扮成張?zhí)瑒偛拍莻€(gè)演開(kāi)場(chǎng)戲的演員改扮成小伙計(jì)。
32 行行行說(shuō)：邊走邊說(shuō)。
33 此二句說(shuō)，看見(jiàn)簾子旁邊站著一個(gè)年輕女子，這個(gè)老頭就起了心要娶她做老婆。用意鋪謀：設(shè)計(jì)想辦法。待：打算，準(zhǔn)備。?。和ā叭ⅰ薄?/p>
34 說(shuō)合：在男女之間保媒，當(dāng)中間人。
35 此二句說(shuō)，不管女方家要什么東西，他都能滿足。但：只要。問(wèn)甚：不用問(wèn)。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(tái)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(shuō)，臺(tái)上在演戲，小二哥捉弄張?zhí)?，把張?zhí)羌绷?，情急之下把一個(gè)皮面包裹的棒槌打碎成兩半了?？磻虻那f稼漢以為是把人家腦袋打破了，要吃官司了。正擔(dān)心時(shí)，張?zhí)托《绶吹构笮ζ饋?lái)。
41 本句說(shuō)，正看得高興，忽然覺(jué)得尿憋得慌。則：正說(shuō)著。胞：同“泡”。爆：脹。沒(méi)奈何：受不了。
42 剛：勉強(qiáng)。捱（ái）：同“挨”，忍著。本句說(shuō)，勉強(qiáng)忍著尿還想多看一會(huì)兒戲。
43 枉：枉然，白白地。驢頹（tuí）：罵人的臟話。本句是說(shuō)，自己因?yàn)橐慌菽虮锊蛔?，中途退?chǎng)，沒(méi)有能看到下半場(chǎng)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(shuō)，莊稼漢為多看一會(huì)兒戲勉強(qiáng)憋著尿，因?yàn)榕_(tái)上張?zhí)@個(gè)老東西實(shí)在太可笑了，所以他舍不得離開(kāi)。兩說(shuō)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(dú)立的唱段。散曲又可分為小令、帶過(guò)曲和套曲三種類型。小令，又稱“葉兒”，是只有一段的唱曲；帶過(guò)曲通常是由二到三支小令組合而成的，稍微長(zhǎng)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(gè)曲牌連綴而成的大型組曲。本曲是一個(gè)套曲，即一個(gè)大型組曲。
這套曲是元曲中別開(kāi)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(shí)況，涉及演出的海報(bào)、劇場(chǎng)前招徠觀眾、門票、劇場(chǎng)布置、演出情況、劇本內(nèi)容、人物角色、化裝、配樂(lè)、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(shū)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(gè)以前從沒(méi)有看過(guò)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?yàn)檫@位樸實(shí)的農(nóng)民對(duì)戲劇毫無(wú)所知，所以他的說(shuō)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(wú)故敲鑼打鼓干什么？但這也同時(shí)介紹了戲劇的伴奏，寫出了演出的熱烈場(chǎng)面。“念了會(huì)詩(shī)共詞，說(shuō)了會(huì)賦與歌，無(wú)差錯(cuò)”一句則寫出了莊稼漢對(duì)演員的欽佩，如此長(zhǎng)篇大論地背誦臺(tái)詞，竟然沒(méi)有絲毫差錯(cuò)。最后憋尿一節(jié)更是寫得活靈活現(xiàn)——其實(shí)這也是實(shí)際情況中常有的事：寧可憋著尿，也希望多看一會(huì)兒演出。
本曲借莊稼漢之口說(shuō)話，語(yǔ)言格外通俗，詼諧生動(dòng)，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(guò)程來(lái)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(gè)可愛(ài)的莊稼漢形象。
元雜劇劇本有不少流傳至今，成為中國(guó)早期戲劇史的寶貴資料。但關(guān)于演出現(xiàn)場(chǎng)的實(shí)況，史籍文獻(xiàn)中幾乎沒(méi)有記載，本曲填補(bǔ)了這個(gè)空白。本曲對(duì)演出實(shí)況的描述，真實(shí)、全面、生動(dòng)、細(xì)致，成為研究中國(guó)古代戲劇史的珍貴資料，具有很高的史料價(jià)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(huì)詩(shī)共詞，說(shuō)了會(huì)賦與歌，無(wú)差錯(cuò)”，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(méi)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.
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