胡仁·乌力格尔《封神演义》文本与汉文原著《封神演义》比较研究

【作者】 李彩花；

【导师】 汪立珍；

【作者基本信息】 中央民族大学 ， 比较文学与世界文学， 2012， 博士

【摘要】 《封神演义》是产生于明代中后期的神魔小说。关于其作者有许仲琳和陆西星两种说法,学术界比较认同许仲琳一说。《封神演义》的作者在宋元话本《武王伐纣平话》的基础上,广泛采集神话、传说、轶闻以及佛经故事并驰骋想象,演绎成这部鸿篇巨制。小说以商周易代为历史背景,叙写纣王被千年狐狸精所附体的苏妲已迷惑,制造酷刑、滥杀忠臣、残害无辜、荒废朝政,最终落得众叛亲离,与摘星楼一起化为灰烬。与此同时,写西伯侯之子姬发顺应天意,在姜子牙的辅佐下,汇同八百诸侯讨伐纣王,建立周朝。最终以姜子牙封神、周武王封侯作结。该书自问世以来,以其丰富的想象、复杂的故事情节以及斗智斗法的场面和丰富的民间文学知识博得广大读者的青睐。《封神演义》于19世纪被译成蒙古文之后,在汉文小说蒙译活动和佛教寺院的推动作用下,主要通过文人的直接阅读和胡尔奇的传播两种途径,在蒙古族地区广为流传,在蒙古族民间产生了深远的影响。其中,蒙古族说书艺人——胡尔奇起到了主要作用。本文选取西日布胡尔奇于20世纪80年代,在哲里木盟广播电台(今通辽市人民广播电台)录制的胡仁·乌力格尔《封神演义》与其底本(许仲琳编、钟惺评：《封神演义》(上、下册),广东人民出版社,1980年)作为研究对象,立足于笔者在东部蒙古族地区搜集和整理到的第一手资料,主要借助影响研究和口头程式理论,借鉴前人的研究成果,多层次、多角度展开比较研究。旨在通过对不同作者、不同时代、不同语种、不同体裁的两种文本的对比,探究隐含于胡尔奇创作中的文化内涵,从而揭示出书面文学转化为口头文学的过程中胡尔奇所起的作用,以及蒙古族在接受他民族文学影响时,积极的重构精神和深厚的蒙古文化底蕴。西日布胡尔奇说唱的胡仁·乌力格尔《封神演义》是迄今为止留有录音资料的唯一一部完整的《封神演义》口头文本。西日布胡尔奇在录制胡仁·乌力格尔《封神演义》时,直接阅读汉文原著,迅速进行思维转换,以娴熟的创作技法,用自己的母语(蒙古语)将汉文古典小说通过蒙古族民众喜闻乐见的民间说唱艺术演述得淋漓尽致。他也因此被冠以“封神演义胡尔奇”的美称。西口布胡尔奇及其胡仁·乌力格尔《封神演义》的研究价值是显而易见的。本论文的研究,对蒙汉文学关系以及比较文学理论研究都具有一定的学术意义。笔者首先梳理了胡仁·乌力格尔《封神演义》在蒙古族地区的传播途径以及所产生的影响,探讨了《封神演义》在蒙古族地区得以流传的主要原因和西日布胡尔奇在其流传过程中的主导作用。指出西日布胡尔奇在对《封神演义》的热悉过程中,师傅扎那的传授和《封神演义》蒙译本所起的作用是不容忽视的。同时,通过对转写的蒙古文文本与其底本进行逐章逐句的对比,归纳和分析胡仁·乌力格尔《封神演义》中胡尔奇的再创作。在此丛础上,选取典型案例作为论据,深入探讨了胡尔奇之所以对底本进行增、删、改写的原因以及胡仁·乌力格尔《封神演义》是如何影响蒙古族文学和文化的。胡尔奇在说唱时,对底本中的汉文诗词、典故和各类点评以及与蒙古族生活相去甚远的内容进行了删减,并根据蒙古族说唱艺术传统、宗教信仰、审美心理、风俗习惯、性格特征等诸多因素,充分考虑听众的接受能力,对底本进行增加和重构,使其更加符合蒙古族说唱艺术传统和审美心理。更多还原

【Abstract】 Fengshen Yanyi, which tells the stories of Gods and Spirits, was written in the late Ming Dynasty. As for its author, there are two views. One is Xu Zhonglin and the other is Lu Xixing. The latter one is well accepted by the academic circle. On the basis of Wuwang Fa Zhou Pinghua written in the Song and Yuan Dynasty, the author of Fengshen Yanyi widely collected folk myths, legends, anecdotes and Buddhist stories, and finally finished this long and magnificent novel.Fengshen Yanyi was set in the historical period from the Zhou Dynasty to the Shang Dynasty. On the one hand, it tells the story that King Zhou was possessed by the millennium fox Su Daji. He not only used cruel tortures to kill loyal ministers and innocent people, but also turned his blind eye to affairs of state. Therefore, he was utterly isolated and fired to ashes with the Star Tower. On the other hand, it tells that Jifa, who was the son of Xibo Hou, under the help of Jiang Ziya and together with eight hundred princes, crusaded against King Zhou and finally established the Zhou Dynasty. In the end, Jiang Ziya was named as god, and King Wu became Hou. Since the advent of Fengshen Yanyi, it won the favor of readers with its fertile imagination, complex story, the scenes of the battle of wits, and the rich folk literature knowledge.In the nineteenth century, Fengshen Yanyi has been translated into Mongolian. Because of the translation of Chinese Fiction into Mongolian and the promoting of Buddhist temple, it has been widely spread in the Mongolian region mainly through reading by the literati and telling by Huerqi. This story got a profound impact in the Mongolian folk society. And Huerqi played a major role.The author of this thesis selects the verbal text of Xiribu Huerqi, which was recorded in the Zhelimu League Broadcasting Station (People’s Broadcasting Station of Tongliao City at present) in the1980s, and its original version (edited byXu Zhonglin, commented by Zhong Xing, Fengshen Yanyi (2volumes), Guangdong People’s Publishing House,1980) as her study objects. Based on the first-hand materials collected from the eastern Mongolia, the author studies it in multi-level and multiple angles guided by the theory of Impact Studies and Oral-Formulaic Theory and the reference of previous research results. By the comparison of the two texts from different authors, different times, different languages and different genres, the author explores the cultural connotations implied in the creation of Huerqi, and further reveals the difference between written literature and oral literature, Mongolian’s reconstruction spirit when they accepted the positive impact of other nation’s literature and the profound cultural heritage of itself.Huren Wuliger Fengshen Yanyi sung by Xiribu Huerqi is the only complete oral text, which has its records. When recording Huren Wuliger Fengshen Yanyi, Xiribu Huerqi directly read the original novel, transformed the language into Mongolian, and perfectly performed the classical novel with his mother language (Mongolian) in persuasive ways. Therefore, he got the reputation of "Fengshen Yanyi Huerqi". The research value of Xiribu Huerqi and his Huren Wuliger Fengshen Yanyi is obvious. This paper has the important academic significance to the Theoretical Study on the relationship between Mongolian and Chinese literature and comparative literature.First, the author analyzes the transmission route of Huren Wuliger Fengshen Yanyi in Mongolian area and its influence, probes the main reason of the spread of Fengshen Yanyi in Mongolian area and the leading role of Xiribu Huerqi during the process of its spread. She points out the effects of the teaching of his master Zhana and Mongolian translation of Fengshen Yanyi to Xiribu Huerqi during familiarizing himself with the original. Meanwhile, through comparing the Mongolian transcription with its original chapter by chapter, sentence by sentence, the author summarizes and analyzes the re-creation of Huerqi in Huren Wuliger Fengshen Yanyi. On the basis of this, the author selects typical cases as her arguments, deeply probing the reason of Huerqi’s adding, deleting and rewriting to the original and the way of Huren Wuliger Fengshen Yanyi to influence Mongolian literature and culture. Huerqi deleted the poetries of Han, allusions and all kinds of reviews of original and the contents which were hard to understand by Mongolian people; in additon, he added some contents and re-created his version according to Mongolian Huren Wuliger tradition, religion, aesthetic psychology, customs, personality traits and other factors. These changes also gave the full consideration to the receptivity of the audience. The modified version well fulfilled the Mongolian Huren Wuliger traditions and aesthetic psychology.更多还原