經筆者觀察明末清初正值政權飄搖、鼎革易代的世變之際，許多曲家在其雜
劇作品中，經常有「哭廟」情節之書寫，比如沈自徵《漁陽三弄》中的《霸亭
秋》雜劇，以及嵇永仁《續離騷》之《泥神廟》、張韜《續四聲猿》之《霸亭
廟》等，均有相同的情節置入，形成一種特殊的創作現象。
「文人哭廟」行為，除了是表達自身抑鬱不得志以外，就某方面而論，更具
有特殊的象徵意義，或者對於政治制度不滿、文明崩解之心理投射，亦呈現出文
人有感於生命困頓，與心靈不安之真實現象。本文擬就哭廟情節在上述三部雜劇
中重複出現之現象，結合曲家生命歷程，以及外部政治與文化因素，進一步探論
「哭廟」情節背後的實質意涵。

the world was changing, many composers often wrote “crying temple” plots in
their zaju works, such as Shen Zizheng’s Yuyang Three Lanes. Ba Ting Autumn Zaju,
Ji Yongren’s Mud Temple in Continuing Li Sao, Zhang Tao’s Continuing Four Sounds
of Ape and Ba Ting Temple all have the same plots inserted, forming a special creative
phenomenon.
The behavior of “literati crying in the temple” is not only an expression of
their own depression and frustration, but also has a special symbolic meaning in a
certain aspect, or it is a psychological projection of dissatisfaction with the political
system and the collapse of civilization. It also shows that the literati have feelings
for life. Difficulty, a real phenomenon of mental uneasiness. This article intends to
further explore the actual meaning behind the plot of “Crying Temple” based on the
phenomenon that the plot of the “Weeping Temples” reappears in the above three

dramas, combining the life history of the composers, as well as external political and
cultural factors.