唐代文学中的 "巫山" "神女" 情结 ：以元稹作品为例 = The complex of "Wushan" "Goddess" in Tang literature : a case study on Yuan Zhen's works

• Main Author: 王雪 Wang, Xue
• Other Authors: Qu Jingyi
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2021
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/152841
• Institution: Nanyang Technological University

“巫山”“神女”，本是《山海经》中瑶草的化身，屈原《九歌·山鬼》中的女巫形象，宋玉《高唐》、《神女》二赋中与楚王结合的女性神仙。到了唐代，尤其是中唐元稹的笔下，巫山神女之神性已然褪去，置换成人间的普通女子，甚至还有趋向“妓”的表现方式。与“巫山”“神女”相关之典故也愈加泛化，元稹把“云雨”、“朝云”等词改造为对美好过往的留恋，使之褪去浓情艳事，更成为了钟情与悲歌的象征，成就了巫山神女形象改造的至高点，后世难以超越。 本文以元稹小说《莺莺传》，诗作《白衣裳》、《离思五首》其四与《梦昔时》为代表，着重探讨其对宋玉笔下巫山神女形象的继承与创新之处，结合唐代社会风气，分析《莺莺传》中叙事模式、男女主角原型、梦境作用等问题，以及三首诗作是如何以“梦”体现巫山神女之情结。并试图结合后世中国本土与域外文学，探讨元氏“神女”情结表现技法的传播与接受。 关键词：“巫山”“神女”；元稹；情结；唐代文学 Wushan Goddess was originally an incarnation of yao cao (瑶草) in the Classic of Mountains and Seas (Shan-hai Ching 山海经), a spirit-medium in Qu Yuan's Nine Songs (Jiu Ge 九歌), a female immortal in Song Yu's Rhapsody on Gaotang (高唐赋) and Rhapsody on the Goddess (神女赋). However, when it came to Tang Dynasty, especially in the works of Yuan Zhen (元稹), the divinity of Wushan Goddess was fading and being replaced with the image of an ordinary woman, with an inclination to be further portrayed as a prostitute in some expressions. In addition, the allusions related to Wushan Goddess were increasingly generalized and made more widely applicable. Yuan Zhen alone was changing the erotic expressions of yun yu (云雨) and zhao yun (朝云), to nostalgic sentiments and the symbol of love and elegy. The transformation of the image of Wushan Goddess had reached its highest point under the influence of Yuan Zhen who was later deemed as unsurpassable in shaping today’s images of Wushan Goddess. This paper selects four works of Yuan Zhen as analytical representatives, which are one tale The Story of Yingying (莺莺传), and three poems Bai Yishang (白衣裳), Li Si (离思) and Meng Xishi (梦昔时). Firstly, the paper discusses Yuan Zhen’s inheritance and innovation towards the image of Wushan Goddess portrayed by Song Yu in his two rhapsodies. Secondly, taking the socio-cultural environment of Tang dynasty into account, the paper analyses the narrative mode, the characters’ protagonist, and the effect of a dream realm. Thirdly, the paper analyses how the three poems express and reflect a complex towards Wushan Goddess with the application of dreams. Finally, the paper tries to examine other classical and foreign Chinese literature works, with a focus on the development and acceptance of Yuan Zhen's portrayal of Wushan Goddess in them. Keywords: Wushan Goddess; Yuan Zhen; Complex; Tang Literature