汉藏文学人物形象审美意蕴研究——以李元吉和晁通的形象比较为例
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摘要
李元吉和晁通分别是《大唐秦王词话》和《格萨尔王传》中隐藏于正面营垒内部的反面人物典型。两位奸王形象有诸多相似处:狠毒、奸诈、虚伪等。不同处在于人物形象一悲一喜。两位奸王阴暗人格特性的形成分别有主观和客观因素。对两位奸王的形象进行比较分析,可以透视汉藏文学作品中人物形象塑造的深层审美意蕴:对晁通的度化和改造,预示着对人性的拯救。晁通是对格萨尔和其他勇士的反衬与补充性形象,只有他代表着"神""魔""人"中的"人"。晁通的人物形象比较复杂、鲜活,这同他是活的史诗中的人物有关。而《大唐秦王词话》处于明朝历史演义向英雄传奇过渡的初期,还残留很多话本和元杂剧的痕迹。
LI Yuan-ji, a character in a Han Chinese book about the historical stories of the Tang Dynasty, and Tso Tong, acharacter in "the Epic of King Gesar", both are villains hidden in the positive camp. There are many similarities in the im-age of the two villains, who both are vicious, treacherous, and hypocritical. The difference of the two is that one is tragiccharacter but the other is not. There are subjective and objective factors in the formation of the negative nature of the twovillains. A comparative analysis of the image of the two literary characters can display the image aesthetic implication ofthe characters in the Han Chinese and Tibetan literary works. The character of Tso Tong serves as a foil to King Gesar andother warriors in the epic, and the transformation of the image of Tso Tong indicates the salvation of human nature. TsoTong is a more complicated and vivid character as he is a character of an epic with living form. The Han Chinese bookabout the historical stories of the Tang Dynasty was created in the early stage of literary transition from historical romanceto heroic legend in the Ming Dynasty, so there are traits of the scripts of story-telling and poetic drama of the Yuan Dynasty.
LI Yuan-ji, a character in a Han Chinese book about the historical stories of the Tang Dynasty, and Tso Tong, acharacter in "the Epic of King Gesar", both are villains hidden in the positive camp. There are many similarities in the im-age of the two villains, who both are vicious, treacherous, and hypocritical. The difference of the two is that one is tragiccharacter but the other is not. There are subjective and objective factors in the formation of the negative nature of the twovillains. A comparative analysis of the image of the two literary characters can display the image aesthetic implication ofthe characters in the Han Chinese and Tibetan literary works. The character of Tso Tong serves as a foil to King Gesar andother warriors in the epic, and the transformation of the image of Tso Tong indicates the salvation of human nature. TsoTong is a more complicated and vivid character as he is a character of an epic with living form. The Han Chinese bookabout the historical stories of the Tang Dynasty was created in the early stage of literary transition from historical romanceto heroic legend in the Ming Dynasty, so there are traits of the scripts of story-telling and poetic drama of the Yuan Dynasty.
引文
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[2]格萨尔王传[M].王沂暖,华甲,译.北京:中国国际广播出版社,2016.
[3]格萨尔王传:花岭诞生[M].王沂暖,何天慧,译.兰州:甘肃人民出版社,1985.
[4]格萨尔王传[M].降边嘉措,吴伟,整理.北京:五洲传播出版社,2011.
[5]格萨尔王全传[M].降边嘉措,吴伟,整理.北京:作家出版社,1997.
[6]吴伟.论《格萨尔》的人物性格[J].中国藏学,1991(4).
[7]扎西东珠.从血缘关系向地缘关系转化阶段的真实写照——《格萨尔》所反映的古代藏族部落社会浅析[J].西藏研究,1997(1).
[8]马学仁.论超同的反面典型——《格萨尔王传》人物探[J].西北民族学院学报,1998(2).
[9]贺润坤.李元吉其人[J].西北大学学报,1988(4).
[10]侯虹霞.大唐秦王词话考论[D].太原:山西大学,2007.
[11]郑敏婕.大唐秦王词话研究[D].西安:陕西师范大学,2011.
(1)本文所引《大唐秦王词话》和《格萨尔王传》中内容依据的书籍版本及出版时间,均在“参考文献”中标出,文中注释不再赘述,特此说明。
[2]格萨尔王传[M].王沂暖,华甲,译.北京:中国国际广播出版社,2016.
[3]格萨尔王传:花岭诞生[M].王沂暖,何天慧,译.兰州:甘肃人民出版社,1985.
[4]格萨尔王传[M].降边嘉措,吴伟,整理.北京:五洲传播出版社,2011.
[5]格萨尔王全传[M].降边嘉措,吴伟,整理.北京:作家出版社,1997.
[6]吴伟.论《格萨尔》的人物性格[J].中国藏学,1991(4).
[7]扎西东珠.从血缘关系向地缘关系转化阶段的真实写照——《格萨尔》所反映的古代藏族部落社会浅析[J].西藏研究,1997(1).
[8]马学仁.论超同的反面典型——《格萨尔王传》人物探[J].西北民族学院学报,1998(2).
[9]贺润坤.李元吉其人[J].西北大学学报,1988(4).
[10]侯虹霞.大唐秦王词话考论[D].太原:山西大学,2007.
[11]郑敏婕.大唐秦王词话研究[D].西安:陕西师范大学,2011.
(1)本文所引《大唐秦王词话》和《格萨尔王传》中内容依据的书籍版本及出版时间,均在“参考文献”中标出,文中注释不再赘述,特此说明。
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