折衷叙事:聊斋俚曲中的升仙幻想  

A Study on the Fantasy of Becoming Immortals in Liaozhai Liqu

作　　者：赵佩汶 Zhao Peiwen(Department of Chinese Language and Literature,Peking University,Beijing 100080,China)

机构地区：[1]北京大学中国语言文学系,北京100080

出　　处：《蒲松龄研究》2024年第2期80-90,共11页Study on Pu Songling

摘　　要：在通常推崇大团圆世俗理想的聊斋俚曲十五种中,《蓬莱宴》与《寒森曲》却以主人公升仙而离家作结。《蓬莱宴》的言语、情节和结构都存在矛盾,在入世与出世之间摇摆不定,暗合蒲松龄在现实中的遭际与挣扎,升仙结局是在现实与理想之外另辟的“蹊径”。《寒森曲》的主人公商三官突破性别限制的奇举被高度赞赏,但也需要承受父权社会的规训,其升仙归宿是折衷叙事的结果。不同于常见的“元结局”,聊斋俚曲中的升仙幻想既是无奈的妥协,又是能够酝酿出高层次“个性”的“积极幻想”。原本限定在“劝世”模套下的俚曲,也得以承载更为复杂的意蕴。Among the fifteen Liaozhai Liqu that usually promote the secular ideal of reunion,Penglai Yan and Hansen Qu end with the protagonist ascending to immortality and leaving home.The language,plot,and structure of Penglai Yan all have contradictions,fluctuating between entering and leaving the world,which coincides with Pu Songling's experiences and struggles in reality.The ending of becoming immortals is another path opened up beyond reality and ideals.The protagonist Shang Sanguan's remarkable breakthrough in gender restrictions in Hansen Qu is highly praised,but it is also under the discipline of patriarchal society,the ending of becoming an immortal is the result of a compromise narrative.Unlike the common happy reunion,the fantasy of becoming immortals in Liaozhai Liqu is not only a helpless compromise,but also a kind of Active Phantasy that can brew high-level Personality.The Liqu that were originally limited to the edification can also carry more complex connotations.

关 键 词：蒲松龄 聊斋俚曲 《蓬莱宴》 《寒森曲》 积极幻想 

分 类 号：I207.37[文学—中国文学]