“白娘子”和“美人鱼”的斯芬克斯之谜与伦理选择
|
摘要
古老的"斯芬克斯之谜"使中国传统神话中的白娘子与安徒生笔下的美人鱼显现出高度共生互文的伦理起源和伦理旨归,进而成为中西文学探索人性与伦理建构的经典形象。通过文学伦理学批评的视角和方法对二者进行对比研究,可以赋予"异类恋"文学母题更深刻的伦理意蕴。女主人公"成为人"的伦理诉求在其"去兽形、得人性"的伦理选择过程中,彰显了人类成长历经的伦理混沌和伦理启蒙。白娘子折损千年道行换得"为人"、"为妻"、"为母"的伦理身份,皈依中国传统家庭伦理;美人鱼"弃尾"、"割舌"换取了以"失语"为象征的残缺的人性,最终演绎了其在"得人性"的征程上殉道式的伦理悲剧。婚姻作为爱情神话中两性走向道德共同体最神圣的伦理归宿,体现了白娘子弃恶从善,修炼为人的伦理选择,也使美人鱼再现了希腊文学中自我牺牲的"殉情"情节,成为其追求人性之路的"殉道"之举。她们对天性的抑制和对人性的追求展现了在伦理启蒙中的人性至善。
The ancient Greek riddle of the Sphinx underwrites an intertextual perspective on the White Snake in Fang Chengpei's The Legend Leifeng Tower and the Mermaid in Hans Christian Andersen's Little Mermaid, both of which are generally seen as classic and symbiotic female images and metaphors of human desires, life purport, and ethical paradoxes. Viewed in the light of ethical literary criticism, the two protagonists' pursuit of human forms and human nature can be interpreted as their efforts to make a balance and a choice between animal factor and human factor. In the name of metamorphosis and love, the two female protagonists try to solve their own riddles of the Sphinx by sacrificing their magic power and sweet voice respectively. Though their efforts in vein, their suppression of natural will and pursuit of human benevolence is much adored and is suggestive of human beings' ultimate pursuit of goodness.
The ancient Greek riddle of the Sphinx underwrites an intertextual perspective on the White Snake in Fang Chengpei's The Legend Leifeng Tower and the Mermaid in Hans Christian Andersen's Little Mermaid, both of which are generally seen as classic and symbiotic female images and metaphors of human desires, life purport, and ethical paradoxes. Viewed in the light of ethical literary criticism, the two protagonists' pursuit of human forms and human nature can be interpreted as their efforts to make a balance and a choice between animal factor and human factor. In the name of metamorphosis and love, the two female protagonists try to solve their own riddles of the Sphinx by sacrificing their magic power and sweet voice respectively. Though their efforts in vein, their suppression of natural will and pursuit of human benevolence is much adored and is suggestive of human beings' ultimate pursuit of goodness.
引文
安徒生:《安徒生童话》,李永毅等译。上海:上海三联书店,2009年。[Andersen,Hans Christian.Andersen’s Fairy Tales.Trans.Li Yongyi.Shanghai:Shanghai SDX Joint Publishing Company,2009.]
杜瑞华:《<海的女儿>的惩戒主题与儿童的反复阅读》,《天中学刊》2(2015):100-102。[Du Ruihua.“The Theme of Punishment and Repeated Reading of‘Little Mermaid’.”Journal of Tianzhong 2(2015):100-2.]
弗洛伊德:《论文学与艺术》,常宏等译。北京:商务印书馆,1981年。[Freud,Sigmund.Writings on Art and Literature.Trans.Chang Hong.Beijing:The Commercial Press,1981.]
斯特劳斯:《结构人类学》第三卷,俞宣孟等译。上海:上海译文出版社,1999年。[Levi-Strauss,Claude.Structural Anthropology.Vol.3.Trans.Yu Xuanmeng,et al.Shanghai:Shanghai Translation Publishing House,1999.]
茅盾:《神话研究》。天津:百花文艺出版社,1981年。[Mao Dun.Mythology.Tianjin:Baihua Literature and Art Press,1981.]
聂珍钊:《文学伦理学批评:人性概念的阐释与考辨》,《外国文学研究》6(2015):10-19。[Nie Zhenzhao.“Ethical Literary Criticism:The Exposition and Textual Research on the Definition of Human Nature.”Foreign Literature Studies 6(2015):10-19.]
——:《文学伦理学批评导论》。北京:北京大学出版社,2014年。[——.An Introduction to Ethical Literary Criticism.Beijing:Peking UP,2014.]
斯特罗克编:《结构主义以来——从列维斯特劳斯到德里达》,渠东等译。沈阳:辽宁教育出版社,1998年。[Sturrock,John.Structuralism and Since:From Lévi Strauss to Derrida.Trans.Xu Dong.Shenyang:Liaoning Education Press,1998.]
吴笛:“追寻斯芬克斯因子的理想平衡——评聂珍钊《文学伦理学批评导论》”,《外国文学研究》4(2014):19-23。[Wu Di.“Searching for the Ideal Equilibrium of Sphinx Factors:A Review of An Introduction to Ethical Literary Criticism.”Foreign Literature Studies 4(2014):19-23.]
余红艳:“明清时期江南生育文化与‘白蛇传’传说的演变和传播”,《民族文学研究》2(2014):123-132。[Yu Hongyan.“Fertility Culture of South Yangtze River Area in Ming and Qing Dynasties and Evolution and Dissemination of the‘White Snake’Legend.”Studies of Ethnic Literature 2(2014):123-32.]
袁珂:《山海经校注》。成都:巴蜀出版社,1993年。[Yuan Ke.Notes on Shan Hai Ching.Chengdu:Bashu Publishing House,1993.]
张华:《博物志》,《汉魏六朝笔记小说大观》。上海:上海古籍出版社,1999年。179-226。[Zhang Hua.Natural Science,Notes and Novels of the Han and Wei Dynasties.Shanghai:Shanghai Ancient Classics Press,1999.179-226.]
(1)郭璞注曰:“女娲,古神女而帝这,人面蛇身,一日中七十度,其腹化为此神”(袁珂445)。
(2)据晋人张华《博物志》记载:“南海之外有鲛人,水居如鱼,不废织绩,其眼能泣珠”(192)。
(3)故事载于冯梦龙:《警世通言》(北京:中华书局,1991年)。
(4)参见傅惜华编:《白蛇传集》(上海:上海古籍出版社,1987年)。
(5)在关于其童话来源的一些论述中(例如1866年版的《著作全集》第21卷第186页),安徒生把《海的女儿》称为完全是自己创作的作品。
杜瑞华:《<海的女儿>的惩戒主题与儿童的反复阅读》,《天中学刊》2(2015):100-102。[Du Ruihua.“The Theme of Punishment and Repeated Reading of‘Little Mermaid’.”Journal of Tianzhong 2(2015):100-2.]
弗洛伊德:《论文学与艺术》,常宏等译。北京:商务印书馆,1981年。[Freud,Sigmund.Writings on Art and Literature.Trans.Chang Hong.Beijing:The Commercial Press,1981.]
斯特劳斯:《结构人类学》第三卷,俞宣孟等译。上海:上海译文出版社,1999年。[Levi-Strauss,Claude.Structural Anthropology.Vol.3.Trans.Yu Xuanmeng,et al.Shanghai:Shanghai Translation Publishing House,1999.]
茅盾:《神话研究》。天津:百花文艺出版社,1981年。[Mao Dun.Mythology.Tianjin:Baihua Literature and Art Press,1981.]
聂珍钊:《文学伦理学批评:人性概念的阐释与考辨》,《外国文学研究》6(2015):10-19。[Nie Zhenzhao.“Ethical Literary Criticism:The Exposition and Textual Research on the Definition of Human Nature.”Foreign Literature Studies 6(2015):10-19.]
——:《文学伦理学批评导论》。北京:北京大学出版社,2014年。[——.An Introduction to Ethical Literary Criticism.Beijing:Peking UP,2014.]
斯特罗克编:《结构主义以来——从列维斯特劳斯到德里达》,渠东等译。沈阳:辽宁教育出版社,1998年。[Sturrock,John.Structuralism and Since:From Lévi Strauss to Derrida.Trans.Xu Dong.Shenyang:Liaoning Education Press,1998.]
吴笛:“追寻斯芬克斯因子的理想平衡——评聂珍钊《文学伦理学批评导论》”,《外国文学研究》4(2014):19-23。[Wu Di.“Searching for the Ideal Equilibrium of Sphinx Factors:A Review of An Introduction to Ethical Literary Criticism.”Foreign Literature Studies 4(2014):19-23.]
余红艳:“明清时期江南生育文化与‘白蛇传’传说的演变和传播”,《民族文学研究》2(2014):123-132。[Yu Hongyan.“Fertility Culture of South Yangtze River Area in Ming and Qing Dynasties and Evolution and Dissemination of the‘White Snake’Legend.”Studies of Ethnic Literature 2(2014):123-32.]
袁珂:《山海经校注》。成都:巴蜀出版社,1993年。[Yuan Ke.Notes on Shan Hai Ching.Chengdu:Bashu Publishing House,1993.]
张华:《博物志》,《汉魏六朝笔记小说大观》。上海:上海古籍出版社,1999年。179-226。[Zhang Hua.Natural Science,Notes and Novels of the Han and Wei Dynasties.Shanghai:Shanghai Ancient Classics Press,1999.179-226.]
(1)郭璞注曰:“女娲,古神女而帝这,人面蛇身,一日中七十度,其腹化为此神”(袁珂445)。
(2)据晋人张华《博物志》记载:“南海之外有鲛人,水居如鱼,不废织绩,其眼能泣珠”(192)。
(3)故事载于冯梦龙:《警世通言》(北京:中华书局,1991年)。
(4)参见傅惜华编:《白蛇传集》(上海:上海古籍出版社,1987年)。
(5)在关于其童话来源的一些论述中(例如1866年版的《著作全集》第21卷第186页),安徒生把《海的女儿》称为完全是自己创作的作品。