杜仁杰 Du Renjie
杜仁杰（约1201—1283后），生卒年不确，济南长清（今山东省济南市西南）人，原名之元，字善夫，后改名仁杰，字仲梁，号止轩。他由金入元。金代正大年间（1224—1231）居住在内乡（今属河南）山中。元灭金后屡次征召他为官，他均辞不受。杜仁杰性格幽默，才学宏富，擅写诗文。他善于在作品中用通俗搞笑的笔法生动地描写市井百姓的生活，再现当时的社会场景，其诗文作品深得金元时期著名文学家元好问的赞赏。他的曲作，今仅存小令一首，套曲三套，数量十分有限，但特色鲜明，情趣盎然，流传很广。
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.
耍孩儿·庄家不识构阑①
○杜仁杰
〔耍孩儿〕
风调雨顺民安乐，都不似俺庄家快活。桑蚕五谷十分收，官司无甚差科②。当村许下还心 愿③，来到城中买些纸火④。正打街头过，见吊个花碌碌纸榜⑤，不似那答儿闹穰穰人多⑥。
〔六煞〕
见一个人手撑着椽做的门⑦，高声的叫“请请”，道“迟来的满了无处停坐”。说道“前截儿⑧院本⑨《调风月》⑩，背后11幺末12敷演13《刘耍和》14”。高声叫：“赶散易得，难得的妆哈15。”
〔五煞〕
要了二百钱放过咱16，入得门上个木坡17，见层层叠叠团圞坐18。抬头觑19是个钟楼模样20，往下觑却是人旋窝。见几个妇女21向台儿上坐，又不是迎神赛社22，不住的擂鼓筛锣23。
〔四煞〕
一个女孩儿转了几遭，不多时引出一伙。中间里一个央人货24，裹着枚皂头巾25顶门上插一管笔26，满脸石灰更着些黑道儿抹。知他待是如何过？浑身上下，则穿领花布直裰27。
〔三煞〕
念了会诗共词，说了会赋与歌，无差错。唇天口地无高下，巧语花言记许多28。临绝末29，道了低头撮脚，爨罢将么拨30。
〔二煞〕
一个妆做张太公，他改做小二哥31，行行行说32向城中过。见个年少的妇女向帘儿下立，那老子用意铺谋待取做老婆33。教小二哥相说合34，但要的豆谷米麦，问甚布绢纱罗35！
〔一煞〕
教太公往前挪不敢往后挪，抬左脚不敢抬右脚，翻来覆去由他一个36。太公心下实焦懆37，把一个皮棒槌38则一下打做两半个。我则道39脑袋天灵破，则道兴词告状，刬地大笑呵呵40。
〔尾声〕
则被一胞尿，爆的我没奈何41。刚捱刚忍更待看些儿个42，枉被这驴颓笑杀我43！
【注释】
1 庄家：即庄稼汉，指种庄稼的农民。构阑：即勾栏，也写作“勾阑”，亦称“勾栏瓦肆”，是宋元时期表演戏剧的场所，因用栅栏围绕或用布幔隔挡而得名。本曲题目意思是，从农村进城的庄稼人不知道演戏这回事。
2 官司：指官府。差（chāi）科：这里指官府派给农民的徭役赋税等事项。
3 本句接前面内容，是说今年丰收，诸事顺利，多亏神灵保佑，所以在村子里许下心愿，要祭拜神灵以示感谢。
4 纸火：拜神祭祀用的纸钱、香烛等物品。
5 纸榜：这里指戏剧演出的海报，一般高悬在剧场入口处。
6 那答儿：那里。闹穰穰：即闹嚷嚷，人多拥挤。本句意为，在剧场门前，很多人看海报，熙熙攘攘，你推我挤，哪里都不如这个地方热闹。
7 椽做的门：用木椽做的简易之门。
8 前截儿：即前半截儿，也就是整场演出的前半场。
9 院本：即演剧用的脚本。但在元代杂剧兴盛之后，也常常以“院本”表示从宋代杂剧向元代杂剧过渡时期的较早的杂剧剧目，通常是由两个角色演出的滑稽剧。
10 调风月：杂剧剧目，内容是讲男女欢爱之事。关汉卿写过《诈妮子调风月》剧本，这里指类似的剧目。
11 背后：这里指演出的后半场。
12 幺末（yāomò）：也作“幺么”、“么末”，指早期的元杂剧，尤其是滑稽可笑的剧目。
13 敷演（fūyǎn）：上妆演出。敷：涂脂抹粉。
14 刘耍和：本是元代著名杂剧演员，这里是指元杂剧作家高文秀创作的杂剧《黑旋风敷演刘耍和》。该剧本已失传。
15 这里的“赶散”和“妆哈”是元杂剧的两种演出形式。赶散，是赶场或插空临时演出的音乐和散曲；妆哈，也写作“装合”或“装呵”，是连本演出的剧目。
16 本句是说，把门人收了二百文钱，作为门票，放庄稼汉进勾栏看演出。
17 木坡：木制的梯形看台。
18 团圞（tuánluán）坐：围成圆圈形状坐着。
19 觑（qù）：观看。
20 钟楼模样：指演出高台。
21 这里的妇女指伴奏和伴唱的女艺人，坐在台边。
22 迎神赛社：中国古代民间的节日习俗，逢年过节或逢神诞日，敲锣打鼓迎神出庙，周游街巷，谓之“迎神”；每年秋季农事完毕，则以酒食祭祀田神，祈求来年五谷丰登，并伴有各种民间演出和游乐，谓之“赛社”。所谓“社”即指“社稷之神”，亦即田地之神。
23 擂鼓筛锣：擂、筛，这里都是敲打之意。鼓、锣，是两种打击乐器，声音铿锵，元杂剧演出的音乐伴奏中经常用到。
24 央人货：害人精。“央”同“殃”，殃及、连累。
25 枚：量词，一块。皂头巾：黑色头巾。
26 本句说，演员头上插着雉鸡翎等长长的羽毛状饰物，像个笔杆似的。
27 直裰（duō）：长袍。
28 这几句是夸赞演员特别能说，全凭一张嘴，从头说到尾，而且毫无差错。
29 临绝末：临，将要，快要；绝末，罢了，尽了，结束。
30 宋元杂剧演出时，通常都有一段开场戏，由四五个演员表演一阵子，然后才开始演正剧。爨（cuàn），即是指这一小段开场戏。么拨（yāobō），即“幺末”，指杂剧演出的正剧。本段是说，开场的演员唱了半天之后，终于低下头，收回脚，表示唱完了，接着就该演出正剧了。
31 妆做：装作，扮演。小二哥：通常指店小二或小伙计一类人物。本句是说，一个演员装扮成张太公，刚才那个演开场戏的演员改扮成小伙计。
32 行行行说：边走边说。
33 此二句说，看见帘子旁边站着一个年轻女子，这个老头就起了心要娶她做老婆。用意铺谋：设计想办法。待：打算，准备。取：通“娶”。
34 说合：在男女之间保媒，当中间人。
35 此二句说，不管女方家要什么东西，他都能满足。但：只要。问甚：不用问。布绢纱罗：各种上好的布匹绸缎。
36 这几句话写张太公为了娶漂亮姑娘做老婆，不得不任由小二哥随意摆布。
37 懆（cǎo）：焦躁之意。
38 皮棒槌：用皮面包裹的棒槌，打人不疼，是舞台道具。
39 我则道：我以为。这里有本不是这么回事，自己弄不明白的意思。
40 刬（chǎn）地：突然地，反而。这一段话是说，台上在演戏，小二哥捉弄张太公，把张太公惹急了，情急之下把一个皮面包裹的棒槌打碎成两半了。看戏的庄稼汉以为是把人家脑袋打破了，要吃官司了。正担心时，张太公和小二哥反倒哈哈大笑起来。
41 本句说，正看得高兴，忽然觉得尿憋得慌。则：正说着。胞：同“泡”。爆：胀。没奈何：受不了。
42 刚：勉强。捱（ái）：同“挨”，忍着。本句说，勉强忍着尿还想多看一会儿戏。
43 枉：枉然，白白地。驴颓（tuí）：骂人的脏话。本句是说，自己因为一泡尿憋不住，中途退场，没有能看到下半场演出和精彩结局，因而被周围看客打趣嘲笑。另有人认为是说，庄稼汉为多看一会儿戏勉强憋着尿，因为台上张太公这个老东西实在太可笑了，所以他舍不得离开。两说均通。
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.
【赏析】
元曲通常被划分为剧曲和散曲两大部分。剧曲是戏剧中的唱段，与剧情紧密相连。散曲则是独立的唱段。散曲又可分为小令、带过曲和套曲三种类型。小令，又称“叶儿”，是只有一段的唱曲；带过曲通常是由二到三支小令组合而成的，稍微长一些，而套曲又称为“套数”、“散套”、“大令”，则是由同一宫调的多个曲牌连缀而成的大型组曲。本曲是一个套曲，即一个大型组曲。
这套曲是元曲中别开生面、轻松有趣的作品。它用庄稼汉自述形式介绍了元代城市居民观看戏剧演出的实况，涉及演出的海报、剧场前招徕观众、门票、剧场布置、演出情况、剧本内容、人物角色、化装、配乐、演出效果等方面。虽然宋代城市中就已经出现了戏剧演出，但普及程度远远不及元代。元杂剧在城市的兴起是元代文学艺术发展的重要标志之一，是值得大书一笔的。因而这首曲的出现受到人们的普遍关注。
作者巧妙地选取了一个以前从没有看过戏剧演出的农村庄稼汉做主人公，用他的眼光和思路带着读者进入元杂剧演出的勾栏之中。正因为这位朴实的农民对戏剧毫无所知，所以他的说法、比喻乃至一些误解之处，常常令人捧腹。譬如，“又不是迎神赛社，不住的擂鼓筛锣”一句写出了庄稼汉的困惑：平白无故敲锣打鼓干什么？但这也同时介绍了戏剧的伴奏，写出了演出的热烈场面。“念了会诗共词，说了会赋与歌，无差错”一句则写出了庄稼汉对演员的钦佩，如此长篇大论地背诵台词，竟然没有丝毫差错。最后憋尿一节更是写得活灵活现——其实这也是实际情况中常有的事：宁可憋着尿，也希望多看一会儿演出。
本曲借庄稼汉之口说话，语言格外通俗，诙谐生动，让读者备感亲切。全曲以叙事为主，按照庄稼汉进城看戏的自然过程来描写，思路清晰，有条不紊，其中夹杂着议论和搞笑，也使读者看到了一个可爱的庄稼汉形象。
元杂剧剧本有不少流传至今，成为中国早期戏剧史的宝贵资料。但关于演出现场的实况，史籍文献中几乎没有记载，本曲填补了这个空白。本曲对演出实况的描述，真实、全面、生动、细致，成为研究中国古代戏剧史的珍贵资料，具有很高的史料价值。
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“又不是迎神赛社，不住的擂鼓筛锣”（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 “念了会诗共词，说了会赋与歌，无差错”，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”（“则被一胞尿，爆的我没奈何”）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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