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由仙入凡的情節轉折—試論明清小說戲曲中的牛郎織女故事

Plot Transition from Fairyland to Secular World, an Argumentation on "The Cowherd and the Weaving Maid" Story in Operas within Ming and Ching Dynasty

摘要


牛郎織女故事被列為中國四大傳說之一,然而相對另三大傳說故事—孟姜女、梁祝、白蛇有關研究相對起步較晚,且往往被董永故事與七夕風俗研究所掩蓋。歷來由於牛郎織女在小說戲曲作品中難得一見,因此對牛郎織女故事研究產生了中間環節的缺縫。本文透過前賢未能寓目的幾部明清的文本,分析比較,得主清末小說《牛郎織女》新增的三個情節「思凡—下凡」、「下凡—歷劫」、「重返—偸衣」,是首次見到用於牛郎織女故事記錄之中,表現出牛郎織女故事由「仙界傳說系統」向「凡間傳說系統」轉折的過渡環節。此後各種關於牛郎織女的故事記錄,就多數是在人間世界裡開展情節,以致成為牛郎織女情節的主流。足見此作在牛郎織女研究史上具有特殊的地位。

並列摘要


”The Cowherd and the Weaving Maid” was always listed as one of the four greatest Chinese legends. However, research about this folklore was not only comparatively later than the other three: ”Meng-Jiang Maid”, ”Liang, Shan-Po and Chu, Ying-Tai”, and ”The Legend of Lady White Snake” but was covered up by the researches on story of Tung Yung and custom of the seventh evening.It was always rarely to see ”The Cowherd and the Weaving Maid” story played in traditional Chinese opera, so there was a gap and shortage on the research toward the story. By reviewing some original texts which may not be spectacular for predecessors, comparing and analyzing some data, it is found that three plots, added in ”The Cowherd and the Weaving Maid” novel in late Ching dynasty,-”thinking then going to secular world”, ”going secular world and experiencing calamity”, and ”returning to fairyland and stealing the clothes”-were, for the first time, seen to be used in ”The Cowherd and the Weaving Maid” story. The adding of the three plots just expresses the link and the transition from ”fairyland legend system” to ”secular world legend system” for the story. Hereafter, plot of ”The Cowherd and the Weaving Maid” was mainly developed in secular world and became the main stream. The work with transitive plots fully demonstrates its special value on the research of ”The Cowherd and the Weaving Maid” story.

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