CAJ | 학술논문

清中叶，花、雅两部戏曲演出活动繁盛，扬州曲家焦循、李斗、黄文呖、凌延堪等深受市民文化熏陶，从题材、语言、音律等方面，发现花部戏与元曲主旨精神相通，因此热情赞美花部戏。李斗在《扬州画舫录》卷五中对花部戏曲演出的实录性记载，焦循在《花部农谭》中对花部戏理论的总结，皆可谓开时代风气之先。这是扬州曲家在传统曲学观念与乾嘉朴学思潮合力的作用下向前推进的结果。
청중협，화、아량부희곡연출활동번성，양주곡가초순、리두、황문력、릉연감등심수시민문화훈도，종제재、어언、음률등방면，발현화부희여원곡주지정신상통，인차열정찬미화부희。리두재《양주화방록》권오중대화부희곡연출적실록성기재，초순재《화부농담》중대화부희이론적총결，개가위개시대풍기지선。저시양주곡가재전통곡학관념여건가박학사조합력적작용하향전추진적결과。
Stage performance of huabuxi and yabuxi was well under way in Yangzhou during the Mid-Qing dynasty while such local dramatists as Jiao Xun, Li Dou, Huang Wenyang and Ling Tingkan thought highly of huabuxi, and were actively involved in drama criticism as well. Influenced by the civilian culture, they found that huabuxi is simi- lar to yuanqu in art spirit regarding subject matter, language and music. Being the pioneering theoretical works writ- ten in that period, Notes of Pleasure Boats in graphs, products of both the traditional views Yangzhou and Tales of Huabuxi are valued as two important mono- of Yangzhou dramatists and the qianfia academic trends