女夷救忠臣－《血影石》中的性別、疆界與華夷辯證

清初蘇州派劇作家朱佐朝《血影石》傳奇，敘寫八百媳婦國跨海向中國興兵，拯救明初“靖難”忠臣之家。本文由此出發，考察晚明清初文學敘寫華夷互動，當中内／外、自我／他者之間的關係如何安排，史地知識之實與建構想像之虚，彼此如何交錯轉换。本文首先將《血影石》與晚明小説《英烈傳》及《西洋記》對照分析，以見晚明清初小説戲曲中，華夷關係想像内涵的異同變化。其次聚焦《血影石》，分析劇作家如何在性别、華夷、政治錯綜的場域中，調度轉化陰／陽、中原／異域、野蠻／文明符號，使原處從屬地位的“女”、“夷”得到角色動能，成爲救援行動的關鍵力量，並自海洋邊緣，以八百媳婦國爲中心，重構出另一套世界地理秩序，與中華視野下的華夷觀相抗衡。

Keywords

朱佐朝；《血影石》；《英烈傳》；《西洋記》；華夷

Parallel abstracts

In the seventeenth-century chuanqi play Xieying shi血影石(The Rock with Shadows of Blood), the tributary state of the Ming Empire, Babai xifu guo八百媳婦國(Lanna Kingdom, primarily in modern Northern Thailand)leads a joint fleet of the states in the southern and western oceans to ＂correct＂ the moral failings of the Ming Empire in China. After the civil war, the victorious Yongle Emperor usurps the throne from his young nephew, the Jianwen Emperor, executes the latter's loyal ministers and persecutes their families. This play raises the questions as to what defines Yi (the foreign barbarian)as opposed to Hua (the civilized Chinese)and how the Hua-Yi boundary may be re-imagined. Juxtaposing the play Xieying shi with two late Ming novel Yinglie zhuan英烈傳 (The Record of Heroes and Martys) and Xiyang ji西洋記(The Record of the Voyage to the Western Ocean),this article demonstrates that the representations of Hua-Yi relationship as in late Ming and early Qing fiction and drama change from division, then to intermixture, and finally to reversal. The author analyzes how the playwright Zhu Zuochao朱佐朝unsettles and reinvents the conventional ying/yang, margin/center, barbarity/civilization dichotomies to empower the subalterns such as Nü and Yi to become vital forces in the operation and reconstruct a geographical world order with the Babai xifu guo from the coastal margin as its center that challenges the Hua-Yi view from the ＂central kingdom＂ perspective.