传统僧人文学近代以来的转型

【作者】 贾国宝；

【导师】 朱文华；

【作者基本信息】 复旦大学 ， 中国现当代文学， 2011， 博士

【摘要】 作为中国文学的一部分,僧人文学一直扮演着边缘、辅属、补充的角色和作用。它在近代转型中具有那些变化?本文带着这样的历史思索,追踪考察了这一片鲜为人知的文学领域。本文共分5个部分,第一部分是导言,主要解决两个问题：第一个问题是“僧人文学”概念的提出及其命名的理由。所谓“僧人文学”,是指僧人的文学活动及其文学作品。这一概念的命名提出主要基于三个因素：一是僧诗及诗僧的创作具有悠久的历史传统,二是僧人在中国而言是一个独特的群体,更为重要的是,佛教文学不能涵盖僧人的文学创作。接着又指出“佛教文学”内涵的泛化和当前学术研究偏重于僧诗及诗僧,导致了“僧人文学”命名的晚出。第二个问题是通过当前“僧人文学”研究现状的梳理,从而发现其学术研究的“盲点”,即五四以后僧人尤其是学僧的创作情况,近代佛教思潮与近代僧人文学创作的关系,这些问题都尚未进入近代僧人文学的研究领域,而这些正是本文所着重分析解决的课题。第二个部分着重从两个层面分析与交待近代僧人文学的历史发展和现实背景。一个是从历史层面,梳理了近代以前传统僧人文学的发展演变,以诗僧为中心,将僧人文学史划分为三个阶段：第一个阶段是“前诗僧时代”,从东晋到中唐；第二个阶段是“诗僧时代”,从中唐到五四前夜；第三个阶段是“后诗僧时代”,从五四前夜到1949年。另一个是从现实层面,解析近代佛教思潮的兴起及其影响。随着儒学统治的衰微与解体,文化保守主义思潮的泛滥,近代佛教遇上了千载难逢的好时机,但它本身也是危机重重,不仅有“内忧”的腐蚀,更有“外患”的冲击,尤其是“庙产兴学”严重动摇了佛教生存的根基。近代佛教思潮基本上是晚清的新学家、以杨文会代表的居士集团、与太虚为首的寺院僧人这三股力量促成兴起的,其中尤以太虚倡导的佛教革新运动最为重要。太虚是近代佛教革新的集大成者,他的“人间佛教”思想,为中国佛教的现代转型提供了富有现代意义的探索。简单地说,近代佛教思潮对近代僧人文学的重要影响表现在：第一,入世的转向；第二,佛教期刊的大量涌现；第三,学僧群的出现,在“后诗僧时代”,他们成为僧人文学的主力军和活跃分子,他们对僧人的身份认同、佛学研究、文学观念等方面,与诗僧均有明显的不同,使得他们的文学创作及风格发生了重大新变。这是近代佛教思潮对近代僧人文学最主要最集中的影响表现。第四,太虚倡导的佛教革新运动的失败,从某种程度上揭示了僧人文学的近代转型的挫折。第三个部分着重分析从“诗僧时代”到“后诗僧时代”的近代转型中,近代僧人文学发生的新变和不变。第一节是创作主体的更替：诗僧的淡出与学僧的凸显。较之清初,晚清时期诗僧寥落,大致分为两种类型：一种是开明型诗僧,以八指头陀、笠云为代表,他们以寺院为依托,以诗文为媒介,多与文人士大夫交游唱和。一般而言,他们的思想在当时的佛教界内不算保守,能与时俱进并顺机而变,表现出一种通达的个性。另一种是革命型诗僧,以宗仰、苏曼殊为典型,他们具有两层内涵：第一层是指他们政治思想比较激进,有参加革命的经历或具有革命的倾向；由此派生的第二层涵义是指他们自觉用文学的形式宣传革命思想,表现自己的政治热情和革命情怀,或在文学观念、创作方法表现出鲜明的创新倾向。学僧的形成与崛起,离不开近代僧教育的发展和推动。他们是指具有佛学院出身的僧人。他们独尊佛学,将学佛研佛、弘法利生视为他们的首要工作和“天职”,对于文学不再崇尚,只视作偶尔为之的业余趣好。在他们看来,佛学是绝对的主体,文学仅是辅属、末流的地位,是宣传佛法的工具,由此形成了“佛学为体,文学为用”的“体用论”和“工具论”的文学观念。第二节是新的文学场：近代僧人刊物的兴起。根据文学比重的不同,僧人刊物分为三种类型：第一种是纯粹的佛学研究刊物,基本不发表文学作品；第二种是佛学研究为主兼顾文学的刊物,以《海潮音》为代表；第三种是批评与文艺为主的类型,如《人海灯》等。它们对近代僧人文学创作的影响,具体表现在：是提供了文学场,二是篇幅短小,三是与佛教因素密切等。第三节是新的文学样式的出现：以僧人小说为中心。近代以前僧人小说似乎是“空白”,主要归咎于僧人独尊诗歌的遮蔽。之所以能在近代出现,其原因有二：一是近代小说兴盛的刺激,二是宣佛或表现佛教人生的需要。总体而言,近代僧人小说的创作是不景气和低层次。僧人小说根据内容题材的不同,分为佛化小说和非佛化小说；从叙事结构来看,又分“诱惑”模式和“冲突”模式,前者多表现在佛化小说,后者则集中在非佛化小说。在那些非佛化小说中,塑造了感伤的年轻的主人公,与他们相对照的是“漫画化”、“脸谱化”的老派僧尼。五四之后,尽管也有僧人创作了零星的新诗,但基本上是口语化的白话诗,文学审美价值并不大。第四节是近代僧人文学的“共名”：入世倾向。在近代佛教的入世转向中,近代僧人的文学创作也呈现出这种入世倾向,主要表现为爱国与革命,感伤情绪的流行。但同时五四之后的僧人创作呈现出出世与入世的悖论,这种悖论某种程度上影响了僧人文学的创作成就。第五节是近代僧人文学的不变与守旧。变与不变是近代中国社会的哲学。僧人文学在近代转型中虽然出现了一些的新的质素,但这些新的质素的出现,并不意味着近代僧人文学在本质上有根本性的转变,比如诗文为主导的文学格局并没有彻底打破,甚至在文学观念上出现了严重的倒退。第四部分选取八指头陀、苏曼殊、弘一作为近代僧人文学转型的三大代表性作家进行分析。八指头陀是传统僧人文学的殿军,第一、转益多师,诗风不主故常；第二、“传杜之神,取陶之意,得贾、孟之气体”,是八指头陀的为诗宗法。其中“传杜之神”,标志着他诗歌艺术的创新与成熟,表现出诗人的感时忧世的现实情怀和爱国情思。作为“苦吟僧”,他徘徊在作诗与成佛的边缘中苦苦挣扎。某种意义上说,八指头陀是最后一位“苦吟”的诗僧。苏曼殊是近代僧人文学的翘楚,主要表现在：作为僧人小说第一人,苏曼殊是当之无愧的。作为衲子,他身上及其文学作品都散发出强烈的“佳人情结”,是僧人“佳人情结”的集大成者。不过,这一情结在文学作品呈现出情与佛冲突的悲剧性的命运。更难能可贵的是,他的小说所创立的一男二女的叙事模式,赋含现代的文化意蕴。爱情选择的困难体现出文化选择的困惑。他的文学翻译和周游日本、南洋一带,使得他具有世界性的文学眼光,他的文学作品也表现出异域情调。弘一出家后舍弃了走文学僧的道路,而选择以律学高僧作为自己的追求。他的这一取舍,体现了近代佛教思潮的发展的内在规律。他出家后虽然没有与文学彻底“绝缘”,但只是纯粹的偶而为之。通过对这三位僧人作家的分析,发现他们文学成就的高低与他们的僧人本色的浓淡呈现出反比列的关系：苏曼殊僧人本色最为寡淡,文学成就最高；弘一是持戒精严的律学高僧,文学成就最低；而八指头陀恰恰居于他们二者之间。第五部分从两个方面对近代僧人文学的影响进行历史评价,第一以八指头陀、苏曼殊、弘一这三位僧人作家为中心,进一步揭示近代僧人文学与五四新文学的关系。八指头陀与五四新文学基本是绝缘,影响也就无从谈起。弘一与五四新文学存在千丝万缕的间接的联系,一个是出家前的话剧演出,一个是白马湖作家群的精神影响。作为僧人作家,苏曼殊与五四新文学的关系最深,且影响最大。除了被视为鸳鸯蝴蝶派的鼻祖外,他是现代中国浪漫主义文学的始作俑者,是五四浪漫作家的精神资源。第二用“消隐”一词描述近代僧人文学影响力的下降。着重从禅宗渊源、文学观念、佛教环境、交游情况等方面比较了学僧与诗僧所存在的异同,从而揭示了学僧为何不能成为文学僧的历史根据。佛教自身的巨大惰性,进一步阻碍了近代僧人文学的成功转型。这也是近代僧人文学影响力下降的重要原因。这种“消隐”状态一直持续到当下,未曾打破,但笔者还是满怀期待这种局面的早日结束。更多还原

【Abstract】 As a Chinese literature’s part, the Monk Literature has played the role of the edge, auxiliary and supplement. How has it changed in the modern society? This article has such historical thinking, tracing to inspect this piece of rarely known literature domain.This article is divided five parts. The first part is an introduction. It mainly solves two problems:The first question is the concept about "Monk Literature" and Its naming reason. So-called "Monk Literature" refers to Buddhist monk’s literature activity and their literary works. This concept is mainly based on three factors:First, the monk poem and the poem monk’s creation has the glorious historic tradition; second, the monk is unique community in China; more importantly, the Buddhism literature cannot cover monk’s literary production. Then pointing out that the Buddhism literature’ generalaization and the current scholarly research emphasised on the monk poem and the poem monk, has caused latly to name "the monk literature".The second question is through "the monk literature " research situation, which discovers some "scotomas" in current scholarly research field, such as the Buddhist monk’s creation situation after May Fourth Movement and the relations between the modern Buddhist Thought and the modern monk literature. These questions hasn’t yet entered into the monk literature’s research, but also are the topic analyzed importantly by this article.The second part has analyzed the historical development and the realistic background about the Monk Literature emphatically from two levels. One is from the historical level, which has combed the traditional Monk Literature’s development and evolution before the modern times. The Monk Literature’s history has based on the poem monk, and been divided into three stages. The first stage is the pre-poem monk’s time", from the Eastern Jin Dynasty to the Middle Tang Dynasty; The second stage is "the poem monk’s time", from the Middle Tang Dynasty to the May Fourth Movement’s eves; The third stage is "post-poem monk’s time", from the May Fourth Movement’s eves to 1949 years. Another is the realistic level, which has analyzed the rise and affects about the modern Buddhist thought. With the decline and disintegration of Confucian rule, and spread of cultural conservatism, the modern Buddhism encountered a rare good time. However, it had owned some crises by itself, not only the "internal problems" of the corrosion, as well as "foreign aggression" of the impact. Especially the "Temple Property" seriously had shaken the foundation of the survival of Buddhism. The modern Buddhist thought has been basically facilitated by the three forces, such as some important thinkers with later Qing Dynasty, lay groups represented by Yang Wenhui and monastery monks whose chief is Taixu, in which promote the most important reform movement. The modern Buddhist thought has important impact on the Buddhist monk literature. The first is earthly concern. The second is a large numbers of Buddhist journals. The third is the emergence of the new monk groups, who is the main force of the Buddhist monk literature after the May Fourth Movement. The fourth is the failure of the Buddhist reform movement, to some extent has revealed the transformation frustrations of the Buddhist monk literary.The third part has analyzed the modern monk iterature changed and unchanged. from the poem-monk time to the post-poem monk time. The first Section is the change about the subject of creation:the fade out with the poem monk and the highlight about the monk experienced with the Buddhist Institute. Than the early Qing Dynasty, late Qing Dynasty the poem monk has becomed sparse and divided into two types. One kind is the non-stubborn poem monk represented by Jichan and Liyun, which have relyed on the temple, and contacted more with the literati by the medium of poetry. In general, their thought among the Buddhist community is not particularly conservative, but also can be changed with the times and smooth machine, showing an accessible personality. Another kind is the revolution poem monk represented by Zong Yang and Su Manshu, which have two connotations: the first is that they are the radicas who has taked part in revolutionary or has the revolutionary tendency. The second is that they has consciously used their promotional literature in order to propagate their political thought, Or to show their distinct tendency of innovation in literature concepts and creative ways. The formation and rise of The monk experienced with the Buddhist Institute is inseparable from the development and promotion of the modern Buddhist education movement. They are Buddhist worshipers, and has regarded the Learning Buddhism and studying Buddhism and Promotion of Buddhism as their primary work and the "vocation". The literature has no longer been advocated, which only occasionally as a hobby. In their view, Buddhism is definitely the main body, and literature is only ancillary’s status as a propaganda tool of Buddhism, thus forming the literary concepts about that"Buddhism is the body and literature is used as a propaganda tool of Buddhism. "The second section is a new literary field,which is the rise of modern monks publications. According to the different proportion of literature, they has been divided into three types:the first is a purely Buddhist research publications, which almost hasnot published literature; The second is the monk publications which has mainly studied Buddhism and occasionally take into account the literature,such as the "tides"; The third is the monk publications based mainly on criticism and literary, such as the "sea of light".Specifically, their impact on modern monk literature is the provision of the literary field, length short, and Buddhism is closely.The third section is the emergence of new literary style:the Monks Fiction. Pre-modern monks novel seems to be "blank", mainly attributed to shelter the monks only use poetry. The reason why they appear in modern times, is what has been mainly stimulated by the prosperity of modern fiction and needed by propagating Buddhism or dispalying the Buddhist life. Overall, the novel creation of modern monk isn’t prosperousd and low-level. From the subject point of view, they can be divided into Buddhist and non Buddhist fiction novels. From the narrative mode point of view, they is divided into "temptation" and "conflict".Those non-Buddhist novels has shaped the sentimental and young monk, and by contrast the "comic" and" profiling" of the old monk. After the May Fourth Movement, although there are a number of monks writing new poetry, they essentially are some colloquial and vernacular poetry. Their literature and aesthetic value is not significant.The fourth section is the "common name" about the modern Buddhist monk’s literature:earthly concern. In the process of modern Buddhism turning into the earthly concern, the modern monk’s have also shown this trend, which mainly shown as the patriotism, revolution and Sentimental pop. However, their creation presents a paradox of both beyond reality and earthly concern,which to some extent has affected the literary achievement of monk’s creation.The fifth section is that there is unchanged and conservative about modern monk’s literature.The changes or non-changes are the philosophy of the modern Chinese society. The Buddhist monk’s literature has brought about a few of new phenomena, but these emergence of phenomena does not mean that the modern Buddhist monk’s literature has essentially appeared a fundamental change. Pattern as the leading literary poetry has not radically changed.The fourth part is that we has selected three representative writer in the transformation process of the modern Buddhist monk’s literature, such as Jichan、Su Manshu and Hongyi. Jichan is the last one of traditional monk’s literature. He has widely studied and learned poetry, which has leaded to his poetry changing. To Du Fu, Tao Yuanming, Jia Dao learning, is his poem summary. The most important thing is that his learning Du Fu is marked his poetry innovation and mature, which has showed the poet’s sense of real feelings and patriotic emotional. As a "monk assiduously",he has wandered and struggled in the edges of Poetry or Buddha. In a sense, he was the last "assiduously Monk".Shu Manshu is the leader in modern literature the monks. As the monks first novel, he is well deserved. As a monk, he is the synthesizer of "Beauty Complex" among the monk, because his body and his works are strongly distributed "Beauty Complex". But this complex in his literary work has presented the tragic fate with the conflict of love and the Buddha. More importantly his novel has founded the narrative mode of man and two woman, which has contained modern culture meaning. The difficulties of love choice has reflected cultural options of the confusion. He has translated Western Literature and traveled around Japan, southeast Asia, so he has the vision of world literature, and his works also show exotic.After being a monk, Hongyi has abandoned the way to become a literature monk, while he has choosed eminent monk with studying Buddhism as his pursuit. His choice has embodied the development law of the modern Buddhist thought. He hasnot thoroughly became a monk insulated with literature, but only and occasionally he has writed some works. Through the analysis of these three monks authors, we found that both the level of their literary achievements and monk character of the concentration has showed the inverse relationship. Most weak monk character, the highest literary achievement, such as Su Manshu.Most strongly monk character,the lowest literary achievement,such as Hongyi. The fifth part is to evaluate the historical influence of the modern Buddist monk’s literary form two aspects. One is that the three monk authores are selected to further reveal the relationship between the modern monk literature and the modern Chinese literature. Jichan is basically insulated with the modern Chinese literature, so his influence does not arise. Hongyi has indirect contact with the May Fourth New Literature, such as his drama in front of being monk, and the spirit impact on White Horse Lake Writers Group. As a monk writers, Shu Manshu has the deepest and greatest impact. contact with the May Fourth New Literature He is the initiator of modern China Romantic literature, and the spirit of the May Fourth writers romantic resources. In a sense, he is one of the sources of modern literature. Another is the use of "blanking" to describe the decline influence of the modern monk’s literary. Mainly from the origin of Zen, literary concepts, Buddhism situation, making-friends, the similarities and differences between the monk experienced with the Buddhist Institute and the poem monk, which haved analyzed and compared, in order to reveal the monk experienced with the Buddhist Institute the historical reasons why they hasnot becomed the literary monk. The enormous inertia of Buddhism itself is also a serious impediment to the successful transformation of modern monk’s literary, which is also an important factor led to the influence of modern monk’s literary in the decline. This "blanking" has continued at present, but I full expect this situation to early break.更多还原