CAJ | 학술논문

明代权贵之于戏曲发展，有着不可忽视的影响。臧贤和郭勋分别是正德、嘉靖时期的权贵，他们分别编集了《盛世新声》、《雍熙乐府》两部价值很高的戏曲选集。虽然他们编集选集的动机，或是声色娱乐的需要，或是政治目的的需要，而且往往为戏曲注入浓烈的正统观念和颂圣思想，但是他们同时掌握着丰富的文献和人才，有利于编辑水平较高的戏曲选集；它们又拥有话语权以及改变风气的号召力、影响力，因此他们宣扬戏曲和“风雅”、“乐府”并列，也有助干戏曲摆脱俚俗小道的偏见。
명대권귀지우희곡발전，유착불가홀시적영향。장현화곽훈분별시정덕、가정시기적권귀，타문분별편집료《성세신성》、《옹희악부》량부개치흔고적희곡선집。수연타문편집선집적동궤，혹시성색오악적수요，혹시정치목적적수요，이차왕왕위희곡주입농렬적정통관념화송골사상，단시타문동시장악착봉부적문헌화인재，유리우편집수평교고적희곡선집；타문우옹유화어권이급개변풍기적호소력、영향력，인차타문선양희곡화“풍아”、“악부”병렬，야유조간희곡파탈이속소도적편견。
The prestige class in the Ming Dynasty had an undeniable influence on the development of Xiqu in China. Zang Xian and Guo Xun, the two prestige figures during the reigns of Zhengde and Jiajing respectively compiled two valuable anthologies, Sheng Shi Xin Sheng and Yong Xi Yue Fu. Despite their entertainment and political motives, and despite the orthodox and eulogistic thoughts they imposed on the plays, they were in possession of a vast range of sources and could work closely with experts, which ensured the quality of these anthologies. Meanwhile, they also had controlled over the social discourse and were able to influence the cultural trends at that time. Therefore, the views on Xiqu as a vulgar and unrefined art were changed by their advocating for Xiqu as the rival to poetry of Fengya and poetry of Yuefu.