本文目的，希望從近年新出版的大量文獻資料，以及筆者新發現的伶 人鈔本中，挖掘更多埋藏於既有文本之下的《雷峰塔》梨園本脈絡，並對學 界看待方成培本的見解提出修正，提出清中葉白蛇戲曲發展演變的新觀點。 首先，本文在文獻資料上的突破包括：重新辨正學界對「陳嘉言父女改編本」 的討論，發現北京「王府新班」演出《雷峰塔》的記載，發掘多部珍貴的伶 人鈔本（包括全本戲與折子戲），從而修正、確立《雷峰塔》在乾隆時期的流 傳時間點。其次，文中具體分析六齣《雷峰塔》折子戲，發現「文人本」與 「梨園本」彼此雖有交互影響，但梨園本實已建立一套傳承系統，方本並未在 改編路徑上起到關鍵作用。最後，《雷峰塔》傳奇梨園本的「定型」，乃在方 本之後，筆者推測是1780 年這個時間關鍵點，因應高宗南巡，淮商鹽班以 「名流數十輩」之力集體編修的「御前演出」本。因此，自1738 年黃圖珌本 出，至1780 年名流本編成，白蛇戲曲的發展可分為三階段：1738–1768 三十年間，是《雷峰塔》情節與人物的轉化期；1770–1780 十年間，是《雷峰塔》 從成熟至定型的關鍵期；1780 年則標誌梨園界的定型本成立，從此流行於內 廷與劇場，直至崑劇逐漸退出舞臺表演。在《雷峰塔》前後四十二年的演變 過程中，除了文人、伶人、淮商、觀眾等影響因素之外，最終「定型」的推 手，是作為特定觀眾的最高統治者及清廷。

This paper aims to reconstruct the context of the theatrical transformation of Thunder Peak Pagoda in the light of the documents from the recently published collections and newly found actor’s manuscripts. It will modify the scholarly opinions about the famous literati Fang Chengpei’s edition, and try to propose a new way of looking at the development of the white snake drama in mid-Qing. Firstly, this paper has some things new to offer: a re-examination of the adaptation by Chen Jiayan (an actor) and his daughter, the finding of a note on the performance by the new troupe from the royal court in Beijing, and the discovery of some rare manuscripts of the full play or excerpts. New materials help us to rectify the concrete time-line of the transformation and transmission of Thunder Peak Pagoda. Secondly, this paper gives a detailed analysis of six excerpts of Thunder Peak Pagoda, which explains the interaction between the literati’s edition and actors’ revisions. The actors’ transmissions have their own inherited system, which means Fang’s revision did not necessarily play a crucial role. Lastly, the “formulation” of Thunder Peak Pagoda was likely to take place in 1780, when Qianlong Emperor went southward to Yangzhou, and the salt merchants assembled dozens of mingliu (famous masters of arts and literature) to revise the play to be performed in the front of the Emperor. Therefore, the development of white snake drama could be divided into three stages: 1) 1738–1768, the transformation of its plots and characters; 2) 1770–1780, the core period which marks its gradual maturity; 3) 1780, which indicates the formulation of actors’ version, causing its popularity in the theatre and court. To sum up, in the process of 42 years’ development of Thunder Peak Pagoda, besides the effects of the interaction among literati, actors, salt merchants, and the audience, the eventual core influence on how this play took shape was one specific audience, the highest ruler of the Empire and his court.