“会稽乃报仇雪耻之乡”——《女吊》的复仇精神与目连戏的反叛特质  

“Kuaiji as the Home of Revenge”—the Spirit of Revenge in The Hanging Woman and the Rebellious Nature of the Mulian Opera

作　　者：刘云 Liu Yun

机构地区：[1]上海外国语大学文学研究院,上海200052

出　　处：《四川大学学报（哲学社会科学版）》2023年第2期46-56,190,191,共13页Journal of Sichuan University：Philosophy and Social Science Edition

基　　金：国家社会科学基金后期资助一般项目“传教士,方言圣经与近代上海地方意识的建构”(19FZWB033)。

摘　　要：作为辞世前留下的最后几篇作品之一,《女吊》对理解鲁迅一生思想有着特殊价值。然而近年来有学者提出,鲁迅在该文中“发明”了女吊身上本不具备的“复仇精神”。这一问题对中国近现代民俗文化研究与从根源上把握鲁迅的思想体系,都具备重要意义,故而研究希望通过对江南地区目连戏与民俗文化中“女吊”形象演变史的系统梳理,结合明清两代的历史文化背景,深入解读鲁迅视“女吊”为“复仇”象征的理据为何,进而指出在《女吊》中,鲁迅敏锐地发现了在官方的正统叙述之外,还存在着一个充满“报仇雪耻”精神的江南文化传统;因此,他以民间文化为立足点,通过提取出其中最富异质性、反抗性的地方文化核心要素,对“正史”和“正统”进行了重新解读与批判,更进一步,试图通过个人书写重塑新的乡邦文化,建构他所期望的地方文化传统和知识谱系,这同时也是鲁迅所秉持的启蒙精神的重要体现。As one of the last pieces left behind before his death,The Hanging Woman is of special significance to our understanding of Lu Xun’s thought.However,in recent years,with the progress of the collation of the Shaoxing Mulian Opera transcripts,some researchers have discovered that the story of“the hanging woman”in the surviving Shaoxing Mulian Opera transcripts,from the late Qing period to the Republic of China,differs greatly from Lu Xun’s narrative.Therefore,the question of whether Lu Xun“invented”the“spirit of revenge”that“the hanging woman”did not have in the Mulian Opera is yet to be answered.As this question is of crucial not only for the grasp of Lu Xun’s thought,but also for the study of modern Chinese folk culture,this paper systematizes the history of the evolution of the image of“the hanging woman”in the Jiangnan region s Mulian Opera and folk culture since the Ming and Qing dynasties,pointing out that the“child bride”story in Lu Xun’s memory is in fact another system that originated earlier than the existing story of the“prostitute”,and has been passed down in this region.In the context of the history and folk culture of the Ming and Qing dynasties,we can see that the hanging woman,as an“evil ghost”(ligui厉鬼),has always been considered to have a strong vengeance in Chinese folk beliefs.And one of the most important purposes of the Mulian Opera performance was to worship the evil ghosts for the sake of local peace.For example,Shaoxing folklore has a special reverence for the hanging woman,calling her“red goddess”,which is related to the belief in the Ding Gu that has been passed down in Jiangnan since the Six Dynasties.However,even after they were elevated to the status of a“goddess”in folk belief,their powerful spirit of rebellion and defiance still frightens and disturbs the general public.Their very existence constitutes a challenge to the established social and ethical order.As the transference of beliefs from Ding Gu to the hanging woman shows,these

关 键 词：鲁迅 女吊 目连戏 复仇 

分 类 号：I206.6[文学—中国文学]