元《朱太守風雪漁樵記》雜劇、明《爛柯山》傳奇皆取材於《漢書》〈朱 買臣傳〉，演繹為「朱買臣休妻」戲曲故事。戲曲體製劇種根據史傳而演繹 相關故事，多已亡佚或僅存殘曲散齣；現存完整劇作僅有《漁樵記》和《爛 柯山》，雖根據史傳鋪陳，然其主題意蘊和文學意象迥然有別。明末清初以 來的戲曲選集和曲譜，收錄《漁樵記》的改本名曰《負薪記》，亦收錄《爛柯 山》散齣，歷經清代乾隆乃至民國以來猶有表演記錄。當代亦有上海崑劇團 《爛柯山》、江蘇省崑劇院《朱買臣休妻》，係從《爛柯山》的六齣折子戲串 連修編而成小全本，至今傳唱不衰。 本文從主題變奏與文學意象的視角分析《漁樵記》和《爛柯山》，並考 辨明代《負薪記》雜劇對《漁樵記》之改編，釐清明清戲曲選本與曲譜選錄 散齣《負薪記》、《爛柯山》之混淆；更運用清末民初的報刊資料，考述其表 演記錄。本文重新梳理脈絡，透過歷時性的主題變奏，呈現戲曲史與文學史 「文士劇」至「世情劇」的發展，用以闡明當代兩部崑劇小全本《爛柯山》及 《朱買臣休妻》的歷史背景與藝術淵源。12

The origins of two anonymous dramas, the Yuan dynasty Zhu Taishou fengxue yuqiao ji (朱太守風雪漁樵記 Zhu Taishou’s Fishing and Woodcutting in Windy Snow), and the Ming dynasty Lankeshan ( 爛柯山 Mount Lanke), lie in the Zhu Maichen zhuan ( 朱買臣傳 Biography of Zhu Maichen) of the Han Shu ( 漢書 Book of Han). Both dramas tell the story of Zhu Maichen divorcing his wife. Most dramas based on historical biographies are now lost or missing; Yuqiao ji and Lankeshan are the only extant complete dramas of their kind. Although they are based on the same historical biography, they differ greatly in the themes they present and literary imagery they employ. Anthologies of opera scores since the late Ming and early Qing include revised versions of Yuqiao ji, retitled as Fuxin ji (負薪記 Carrying Firewood). These anthologies also include incomplete chapters of Lankeshan as well as records of performances from the reign of the Qianlong Emperor to the Republican era. Contemporary opera performances, such as the Shanghai Kunqu Opera Troupe’s Lankeshan and Jiangsu Provincial Kunju Theatre’s Zhu Maichen xiu qi (朱買臣休妻 Zhu Maichen Divorces His Wife), are based on a revised, short, yet complete version of Lankeshan, compiled from six chapters of excerpted highlights, and are still widely performed today.This article analyzes Yuqiao ji and Lankeshan from the perspective of thematic variations and literary imagery. It also investigates how Yuqiao ji was adapted as Fuxin ji in the Ming dynasty, clarifying the confused mixture of selected and incomplete versions of Fuxin ji and Lankeshan. Further, this article investigates records of performances published in newspapers and periodicals from the late Qing to the present. It presents a new way of understanding the context: exploring diachronic variations on theme, it reveals the course of development of scholars’ plays (wenshi ju 文士劇) into worldly plays (shiqing ju 世情劇), and uses this to elucidate the historical background and artistic origins of the two complete contemporary versions of Lankeshan and Zhu Maichen xiu qi.