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作 者:陈雯娜 CHEN Wen-na(College of Liberal Arts,Shantou University,Shantou,Guangdong 515063)
出 处:《汕头大学学报(人文社会科学版)》2024年第9期77-83,96,共8页Journal of Shantou University(Humanities and Social Sciences Edition)
摘 要:《镜花缘》是清代较有代表性的古典白话小说,其与另一部古典小说《西游记》存在情节、结构和主旨上的诸多相似性。在情节构思上,通过戏拟《西游记》之“西梁女国”,李汝珍创造了“女治外事,男治内事”的“镜女儿国”,以滑稽戏谑的笔法有力地抨击了封建礼教对女性群体的迫害;从结构布局上看,李汝珍仿拟《西游记》“游历叙事”的情节安排方式,同时融入自身的生活体验,创作了有别于西行取经的海外历险故事;从主旨意蕴上看,《镜花缘》与《西游记》均表现出了浓郁的佛教色空观和因果论色彩,这暗示了二者隐秘的内在关联。在互文性视阈下审视《镜花缘》与“他文本”《西游记》的内在关联,有利于学界更好地认知《镜花缘》的创作过程,把握其文学价值和地位。对于来自“他文本”《西游记》的素材,李汝珍在借鉴之余,融合自身生活体验加以创新,使其在新的文本环境中生发出丰富的意义。The Mirror Flower is a representative classical vernacular novel in the Ming and Qing dynasties,which has many similarities with the contemporaneous novel,Journey to the West,in plot,structure and theme.In terms of plot,by parodying“The Womanland of Western Liang”in Journey to the West,Li Ruzhen creates the“Mirror daughter country”,in which“women govern foreign affairs and men govern internal affairs”,vigorously attacking the persecution of female groups by feudal ethics with funny and playful strokes.From the perspective of structure and layout,Li Ruzhen imitates the“travel narrative”in Journey to the West,and integrates her own life experience to create an overseas adventure story different from journey to the west.As for the theme,both the Mirror Flower and Journey to the West show strong Buddhist views of The Embodiment of Form and Emptiness and The Karma,which implies a hidden internal relationship between the two.Examining the internal relationships between the Mirror Flower and“his text”Journey to the West from the perspective of Intertextuality is conducive to the academic community to better understand the creation process of the Mirror Flower and grasp its literary value and status.As for the material from“his text”Journey to the West,Li Ruzhen not only draws lessons from it,but also innovates it with his own life experience,making it rich in meaning in the new text environment.
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