梁山英雄的魔性、神性与九天玄女——再论《水浒传》“血腥”情节的文化意蕴及其结构问题  

The Demonstration, Divinity and Heroes of Liangshan Heroes——Discussion on the Cultural Implication and Structural Problems of the “Blood Skull” Plot in The Water Margin

作　　者：朱仰东[1] ZHU Yang-dong(College of Humanities,Yili Normal University,Yining 835000,China)

机构地区：[1]伊犁师范学院人文学院,新疆伊宁835000

出　　处：《聊城大学学报（社会科学版）》2018年第4期21-27,共7页Journal of Liaocheng University:Social Science Edition

摘　　要：《水浒传》"嗜杀"的血腥情节遭到一些读者或学者的反感。小说写梁山英雄嗜杀是由其亦魔亦神的双重性格决定的,其应劫而生的社会环境以及类似的"丛林法则"也促成了这一情节的形成。同时前代水浒故事包括水浒戏中大量类似的情节对小说亦不无影响。小说以误走妖魔开端,中经九天玄女,最后以宋江等人归神作结,这种特有的内在结构展现了宋江等人由魔趋神的历程。作为魔性的外在表征,嗜杀某种程度上关乎着小说结构的布局。The story of the Bloodthirsty by The Water Margin was disgusted by some readers or scholars. The heroic killing of the novel written by Liang Shan was determined by its dual character, which is also the devil and the god. The social environment that should be robbed and the similar＂law of the jungle＂also contributed to the formation of this plot. At the same time, the story of the previous generation of Water Margins, including a large number of similar scenarios in the Water Margin, also had an effect on the novel. The novel began by mistakenly taking the demon, the Chinese Goddess of the Nine Heavens, and finally the Song Jiang and other people to the end of God. This unique internal structure shows the course of Song Jiang et al. As a devil＇s external representation, the killing to a certain extent is related to the layout of the structure of the novel.

关 键 词：《水浒传》 梁山英雄 嗜杀 艺术结构 

分 类 号：I206.2[文学—中国文学]