隋唐故事考论

【作者】 徐燕；

【导师】 董国炎；

【作者基本信息】 扬州大学 ， 中国古代文学， 2010， 博士

【摘要】 隋唐时期是中国历史进程中非常重要的时期,发生其间的历史事件、活动其中的英雄人物,时人已开始关注,宋人以至今人一直保持关注热情。各个时代各个阶层的人们谈论甚至解释隋唐历史事件、议论品评人物,表现于史传、笔记、小说、说唱文学、戏曲等各种文体中,由此产生隋唐故事。隋唐故事有历史基础但不是完全照搬历史,相关作品数量越来越多,影响大,明清时期已引起人们注意,出现种种研究性文字。迄今为止,明显的遗憾是整体性研究不足,局限在单篇作品研究、就某一隋唐人物故事加以梳理与研究、对(某一个时期)某一种文学类型中的隋唐故事进行整理与研究。整体不等于是所有作家作品的简单叠加,应该包含构成整体的各部分之间的种种有机联系。只有在整体研究基础上,才能发现单篇作品在整体演进中具有的意义、做出的贡献,客观评价其地位;才能发现作品间借鉴与拓新的情况,有助于客观呈现说唱文学戏曲小说间交叉互动关系;才能理清隋唐故事演变发展的脉络,发现其中规律性的东西;才能发现进而解释一些有趣且富有理论色彩的问题:隋唐故事早于“水浒”故事,几与“三国”故事同时产生,隋唐系列产生二十多部小说,作品数量超越“水浒”、“三国”系列,但隋唐系列小说竟未有一部能跻身“名著”,其原因为何?隋唐系列小说中不少是抄袭模仿、辑补连缀之作,其被一写再写、一续再续,盛行一时的原因是什么?诸如此类。有鉴于此,本文从整体上把握隋唐故事。所谓“隋唐故事”,指有关隋唐时期历史事件和人物传闻的故事,明清时期,一系列与此相关的通俗长篇小说则统称“隋唐系列小说”,它们堪称隋唐故事的标志性作品,因此本文以隋唐系列小说为切入点,对隋唐故事进行资料长编式的整理与研究。题材方面,“隋唐故事”关键在“隋唐”,就本文的研究而言,集中在隋末到唐代中期,隋朝开国故事、有关晚唐时期历史事件、人物传闻的故事,基本不在研究范围内。“隋唐故事”的载体包括史传、笔记、说唱文学、戏曲、小说。时间方面,作品问世的上限在唐代前期,隋唐故事开始出现作品,下限在清末民初。研究范围涵盖作品生成研究;流变和传播研究;作品内容、艺术、人物研究,包括比较研究。唐宋人笔记《隋唐嘉话》、《酉阳杂俎》、《逸史》、《唐语林》、《东京梦华录》记载隋唐逸闻轶事,一方面保存了不少宝贵的隋唐历史掌故,是说唱文学、小说、戏曲乃至史传中相关故事的最初源头,另一方面也记录了一些比较荒诞离奇的事情,促使隋唐故事向虚构化传奇化发展。一些叙事技巧在这些笔记中已比较成熟,尉迟恭、秦琼、单雄信等人的英雄形象已初步树立起来,被隋唐系列小说所继承并发扬,主要表现在不仅表现出他们作为英雄的共性,对个性也有所刻画。晚唐宋初,出现文言小说《隋遗录》、《海山记》、《开河记》、《迷楼记》,合起来正好完整的描绘了隋炀帝一生,既客观揭示出隋炀帝荒淫残暴导致身死国灭的史实与教训,又增添许多于史无证的细节,审视人物内心,描写人物情感,避免人物形象的概念化。后世文艺作品叙述的隋炀帝故事,塑造的隋炀帝形象,表达的思想情感态度,基本没有超出它们的范围。唐宋时期,也产生一系列记录隋唐历史的史著。就隋唐故事的生成与发展而言,《隋史》、两《唐书》的意义首先在于:记录了较完整详细的隋唐历史事件与人物事迹,提供解释历史的切入点,为隋唐系列说唱、戏曲、小说作品创作提供了基础资料;《资治通鉴》含《隋纪》八卷,《唐纪》八十一卷,它的意义首先在于:年经事纬的时空安排,为隋唐系列小说创作提供了可资仿效的结构框架;第三人称全知视角客观叙述,为隋唐系列小说创作提供了可资取鉴的叙事模式;《资治通鉴目录》提纲挈领的概括历史,《资治通鉴纲目》分纲立目记事,一定程度上启发了小说分节立目的外在体式。说唱文学中的隋唐故事可追溯到中晚唐,《韩擒虎话本》、《唐太宗入冥记》代表早期的作品。《韩擒虎话本》对史实进行了较多艺术加工,即割弃人物的一些经历,选择重要的最能凸显人物的事迹;用移花接木的方法,把众多人物事迹并入一人事迹中;增添不少民间传说,塑造了一个世所罕见的智勇双全的少年将军形象,堪称白话类英雄传奇之祖,在创作故事与塑造英雄方面给予隋唐系列小说乃至后世英雄传奇小说深刻影响,《说唐全传》写韩擒虎有相通处。《唐太宗入冥记》首次颠覆唐太宗贤君明主的形象,深刻影响了隋唐系列小说创作,不仅故事情节被《隋唐演义》第六十八回沿袭,而且隋唐系列小说有所刻画与揭露唐太宗的阴暗面。宋元明时期,隋唐故事在说唱文学领域继续发展。宋元话本《隋炀帝逸游召谴》初步整合《隋遗录》等文言小说的内容,在具体情节顺序上,《隋炀帝艳史》与《隋炀帝逸游召谴》十分接近。元话本《薛仁贵征辽事略》更进一步表现出说唱文学超越历史的艺术创造思维。它有机结合据史、移花接木、变形、杜撰几种方法,创造出全新的薛仁贵征东故事,在创作方法上给予《隋史遗文》、《说唐全传》等一系列演义历史,越演越远离历史的小说以示范与启发。明成化词话《薛仁贵跨海征辽故事》是薛仁贵故事的进一步发展,许多新撰的情节为《说唐后传》所因袭。明末清初说书艺人柳敬亭是说书史上里程碑式的人物,隋唐故事是他的代表作之一,“隋唐”成为南北说书的重要书目,形成各自不同的师徒传承谱系,其鼻祖都可以推至柳敬亭。清代至民初的说唱文学领域,隋唐故事持续发展,南方评话系统与北方评书系统中均形成稳定的隋唐书目与传承体系;鼓词系统中也蕴含丰富的隋唐故事。这一方面得益于前代说唱文学与戏曲,尤其得益于隋唐系列小说的积累与刺激;另一方面,相关评话评书鼓词作品在继承的基础上也有合理扬弃与拓新,使隋唐故事能够保持鲜活生命力,促进隋唐故事不断丰富与发展。隋唐故事也是元明杂剧的重要题材。一方面薛仁贵故事、隋炀帝故事获得持续发展,另一方面形成比较完整的尉迟恭故事,尉迟恭英勇忠直的个性基本体现出来,隋唐系列小说叙述的尉迟恭故事,塑造的尉迟恭形象,基本没有超出杂剧的范围,惟情节详略差异;瓦岗英雄故事也渐趋成熟,形成相对稳定的故事体系,隋唐故事中的主要人物形象已大多出场且粗具性格,隋唐系列小说叙述相关故事,塑造相关人物,未超出杂剧定下的基调。隋唐题材的明清传奇作品,从内容上来说,兴趣基本在争战攻伐、英雄事迹上,亦有所渗入男女情事,夹杂怪力乱神的内容。时间上,不少作品创作的具体年代不详,它们与一些隋唐小说在情节内容上明显具有相似相近处,但因袭关系一时难以确定;比较明显的,有部分关于薛仁贵故事的传奇作品产生于《说唐后传》前,是《说唐后传》创作材料的来源之一;也有传奇作品产生于一些隋唐小说之后,明显吸收了隋唐小说的一些情节。京剧与地方戏中蕴含庞大的隋唐剧目,它们富于民间趣味与精神;它们与前代及同时代的戏曲、说唱文学作品,尤其是隋唐系列小说存在千丝万缕的联系,客观呈现出戏曲与说唱文学,戏曲与小说互动之频繁。明代中晚期至清代,隋唐系列小说堪称隋唐故事的大成之作。它们的产生盛行,既得益于史学与文学传统、自身题材优势,也离不开读者群的形成与壮大以及读者阅读兴趣的激励、一批小说作家的加工写定。它们大致经历了从历史演义到英雄传奇再到武侠小说的演变发展过程,其间儿女、神魔故事杂糅渗透,只不过不成为主要矛盾,不决定小说的类型。《绿牡丹》不仅是隋唐系列小说演变发展过程中具有特殊意义的作品:它是唯一一部武侠小说,而且在武侠小说史上也有重要地位,它把关注点从“江山”转向“江湖”,武侠小说第一次创新自此初露端倪;它以武林正邪斗争和男女侠情故事构成主要内容,这种写法是民国以来武侠小说主要写法,《绿牡丹》开其先河,也提供很多演变经验。隋唐系列小说演变发展的过程同时是隋唐故事丰富发展、各人物形象渐趋立体丰满的过程,是下层趣味不断渗透发展的过程,即忠君观念渐趋淡化,强调“义”;封建贞节观念有所减弱,女性地位有一定提高;英雄人物逐步从道德模型转变成较真实的人。在故事人物的身上,既有民族文化心理的投射,也有时代话语的体现。秦琼单雄信形象的演变,代表忠义、侠义精神孕育发展但最终走向幻灭的历程,离不开明清易代的背景。喜剧英雄程咬金身上,寄托着市民阶层发迹变泰的理想、反映他们追求现世生活以及圆融迂回的处世态度。女将形象越来越多的出现在隋唐系列小说中,她们情欲觉醒,反抗精神加强,与独特的文化与时代背景有关,即明季多奇女子;商品经济繁荣,女性地位提高;市民理想寄托;侠女求偶母题的影响。她们身上也留有男性视角的印记,表现在对女将外貌描写的玩赏态度、忽视女将心理历程与昭示“女为男用”的心理上。在对女将爱情婚姻的描写中,也渗透着大汉族主义的思想。隋唐系列小说终究未有一部能够跻身“名著”行列,原因大概在于战线太长,结构松散;中心人物不一,人物个性不足;各个故事群着眼点各不相同,作品主旨不统一,内涵欠深刻;归根到底缺少一个伟大的加工写定者。在历时性的整理与研究中,在对各具体作品条分缕析基础上再把握探讨整体的过程中,基本可以得出这样的结论:唐代至明成化年间,通过笔记、史传的记载,经由文言小说、说唱文学、杂剧传奇的加工咏唱,已经形成四大故事体系——隋炀帝故事、薛仁贵故事、尉迟恭故事、瓦岗英雄故事,显示出隋唐故事由分散到整合,又多线发展的趋势。英雄人物越来越受到关注,他们的故事越来越摆脱史籍束缚而形成独立体系。明代中晚期至清代以来,隋唐系列小说的发展基本未打破这种格局与趋势,基本形成以李世民、隋炀帝、秦家将、罗家将、薛家将为中心的五个故事群。此时期,隋唐故事在戏曲说唱文学中获得持续发展。它们的兴趣基本仍在战争兴废、英雄业绩上,其间儿女、神怪杂糅,与隋唐系列小说乃至隋唐故事长期发展的趋势一致;隋炀帝、李世民、秦琼、罗成、程咬金、薛仁贵、薛丁山等人物依旧占据故事的中心,形象也基本未脱长久以来隋唐故事定下的基调,但经历更加丰富,形象更立体丰满;表现出更浓重的世俗化情趣与情感,也融入地方风情以及时代精神,兼顾了戏曲说唱文学表演的特性,更多的考虑了观众审美与接受。它们的创作,大致可以分为以下几种情况:一、改写自小说。二、戏曲、说唱文学独立创造隋唐故事。三、戏曲与说唱文学间相互改写。四、戏曲间的相互借鉴。五、说唱文学间的相互借鉴。隋唐故事持久流传,持续演变与发展,其间伴随着叙事艺术的发展,各种题材的杂糅渗透,各种文体的交叉互动,民族文化心理的积淀与时代话语的彰显。更多还原

【Abstract】 The Sui and Tang dynasties play a significant role in Chinese history in which historical events and heroes actively staying therein were concerned by persons of the both dynasties as well as such close attention have been continued and maintained by people of the Song Dynasty and even today. People in different eras and different stratums have been discussing and even explaining historical events and commenting on figures in the two dynasties by various narratives such as biographical novels, notes, classical novels, talking & singing literatures, traditional operas, etc. so stories of the Sui and Tang dynasties are produced. These stories don’t absolutely copy the history but have certain historical foundations. More and more outputs and their great significance have got attentions of people since the Qing Dynasty and various study literatures turn up. So far, obvious regret is lack of holistic studies but limited to study on a single works, carding and study on stories of a certain figure as well as arrangement and study on stories in a certain literary genres (in a certain period).Holistic is not equal to simple superposition of all works from all authors but shall include various organic links between different parts of the holistic. No other than on a basis of holistic study, significance of a single works in holistic evolution and its contributions can be found in order to objectively evaluate its standing; emulations and innovations therein can be found in order to objectively present crossing and interaction relationships between talking & singing literature, novel and traditional opera; clear line of evolution and development of stories in the Sui and Tang dynasties can be sorted out in order to find some regularities therein; and some issues of interests and abundant theories can be found and further explained: stories of the Sui and Tang dynasties arose earlier than“Heroes of the Marshes”and almost happened at the same time as“The Romance of the Three Kingdoms”,also, the Sui and Tang series produced over twenty novels, in number which is greater than“Heroes of the Marshes”and“The Romance of the Three Kingdoms”, but why neither of these novels can rank among“Classic Novels”? Many the Sui and Tang series novels are copied, series complemented and even rewritten again and again, what’s reason for their prevalence? And the like.In this case, this article grasps stories of the Sui and Tang dynasties as a whole. Said“stories of the Sui and Tang dynasties”means stories in relation to historical events and figure rumor. Since the Ming and Qing dynasties, a series of popular saga novels related to the said“stories of the Sui and Tang dynasties”have been collectively called“Sui and Tang series novels”, which can be rated as masterpiece among all stories of the Sui and Tang dynasties. Therefore, this article takes the Sui and Tang series novels as breakthrough points to conduct lengthy compilation type collection and study on the stories of the Sui and Tang dynasties. As far as subject-matter area is concerned, it focuses on the period from the last years of the Sui Dynasty to the middle term of the Tang Dynasty with the fabulous age of the Sui Dynasty and the late Tang Dynasty excluded. For literary style, stories of the Sui and Tang dynasties focus on stories so their corresponding narrative styles shall including biographical novel, notes, talking & singing literature, traditional opera and novels. For time concerned, stories of the Sui and Tang dynasties come in literary works from the fabulous age of the Tang Dynasty to the end of Qing Dynasty and the beginning of the Republic of China. Researches in this article covered work generation studies, rheological and communication studies as well as content, art and figure studies, including comparative study.Notes from people of the Tang and Song dynasties had recorded anecdotes of the Sui and Tang dynasties such as Suitangjiahua, Youyangzazu, Yishi, Tangyulin and Dongjingmenghualu, which didn’t only preserve a great deal of valuable historical anecdotes in that age to be the first source of stories in talking & singing literatures, novels, operas and even biographical novels but also recorded some fantastic and uncanny things to promote stories of the Sui and Tang dynasties to grow towards fiction and romance. In these notes, some narrative skills were mature and hero figures e.g. Yuchi Gong, Qin Qiong and Shan Xiongxin were initially built which were inherited and developed by the Sui and Tang series novels, not only presenting universality as a hero but also portraying individuality.In the late Tang Dynasty and the early Song Dynasty, Suiyilu, Haishanji, Milouji and Kaiheji came forth, which were collectively a whole lifetime of Emperor Yang of the Sui Dynasty, not only revealing the historical facts and lessons that his death and empire annihilation were lead by his incontinence and atrocity but also adding a lot of details without historical evidences, scanning innermost being and describing emotions to avoid conceptualization of the figure. Stories of Emperor Yang circulated, image created and ideas, emotions and attitudes represented after ages were not beyond their expectations.A series of historical records in relation to the history of the Sui and Tang dynasties also appeared in the Tang and Song dynasties. For the generation and development of stories of the Sui and Tang dynasties, significances of the Tang History and the Sui History firstly lied in: completely and specifically recording historical events of the Sui and Tang dynasties and stories of figures therein, providing breakthrough points for historical interpretation and offering basic materials for the production of talking & singing literatures, operas and novels; significances of General Mirror for the Aid of Government including Sui Records (eight volumes) and Tang Records (eighty-one volumes) firstly lied in: spatio-temporal arrangement offers frameworks imitated as example for creation of Sui and Tang series novels; objective third-person narration at an omniscient point of view provided recommendable narrative style for creation of Sui and Tang series novels; Contents of General Mirror for the Aid of Government summarized the history in skeleton form and Outlines of General Mirror for the Aid of Government inspired, to a certain extent, outer style of segmentation and entry selection of novels.Stories of the Sui and Tang dynasties in talking and singing literatures might be traced back to the middle and late Tang Dynasty. Hanqinhu Story-telling Script and TangTaizong’s Adventure in the Hell were the early typical works. Many artistic forgings and foundries of historical facts were taken into Hanqinhu Story-telling Script, i.e. abandoning some experiences of the figure but selecting important deeds which can best represent the figure’s character; merging deeds of multiple figures into a specific figure in a method of conversion; adding a plenty of folklores and building an image of an outstanding young general of both intelligence and courageousness, which could be rated as the ancestor of sagas in vernacular language and played an significant role in Sui and Tang series novels and even sagas after ages for creating stories and building heroes. Complete Biography of Sui & Tang was similar with Han qinhu. TangTaizong’s Adventure in the Hell was the first to subvert the judicious emperor image of Tang Taizong, which had a significant influence on creation of Sui and Tang series novels. Its plots were followed by Sui & Tang Heroes, Round 68; and the Sui and Tang series novels portrayed and revealed dark sides of Tang Taizong. In the Song, Yuan and Ming dynasties, stories of the Sui and Tang dynasties obtained sustainable development in talking & singing literature field. Script of the Song and Yuan dynasties– Emperor Yang Cruised and Been Fulminated preliminarily integrated content of novels in classical Chinese, and its specific plot sequence was close to Romantic Experience Of Emperor Yang. Script of the Yuan Dynasty– the Sketch of Xue Rengui Crusading against the Liao Kingdom further represented artistic creative ability and imagination that talking & singing literature superior to history. Its organic combination with historical evidence, conversion, transformation and fiction, brand new stories on Xue Rengui crusading against the east was produced which set an demonstration and inspiration for a series of historical novels e.g. Suishiyiwen and Complete Biography of Sui & Tang that is far superior to the historical facts. Talking & singing script in Chenghua of the Ming Dynasty– Story on Xue Rengui Transoceanic Crusading against the Liao Kingdom was a further development of stories of Xue Rengui and its newly-composed plot was followed by Shuotanghouzhuan. Liu Jingting, a storyteller lived in the end of Ming Dynasty and the beginning of the Qing Dynasty was a milestone like figure in the history of storytelling and stories of the Sui and Tang dynasties were his typical works.“Sui and Tang”had become key bibliography of both the south and north storytelling systems and formed various mentoring transmission pedigree of which the originator can be traced back to Liu Jingting. From the Qing Dynasty to the early Republic of China, stable bibliography and transmission system of the stories of Sui and Tang dynasties in both south storytelling system (in a local dialect) and north storytelling system had been formed, and drum-beating lyrics system also involved in abundant stories of the Sui and Tang dynasties.Stories of the Sui and Tang dynasties were also important materials of the Yuan Zaju. On one hand, stories of Xue Rengui and Emperor Yang had obtained sustainable development; and on the other hand, stories of Yuchi Gong had been completely formed whose valorous and righteous characters were presented. Stories of Yuchi Gong narrated and his figure built in Sui and Tang series novels were not beyond the range of Yuan Zaju, having a difference on details only. Stories of heroes in WaGangZhai gradually became mature, a relatively stable story system was formed, most of key figures in Sui and Tang series novels appeared and their characters were roughly visualized. Stories and figures in these stories were not beyond the keynote specified by the Yuan Zaju. Chuanqi Dramas, Peking operas and local operas in the Ming and Qing dynasties implicated enormous plays of the Sui and Tang dynasties.The Sui and Tang series novels were rated as masterpiece of stories of the Sui and Tang dynasties from the middle and late Ming Dynasty to the Qing Dynasty. Their generation and prevalence were not only benefit from historiography and literature traditions as well as their own material advantages but also can not survive without formation and grandness of readership, reader’s encouragement of reading interest as well as processing and formulation of novelists. They mainly experienced a course of evolution and development from historical novel to saga and further to Kung Fu novel with a multi-university of love and genies therein, which neither became principal contradiction nor decided novel style. Green Peony didn’t only play a special significant role in the evolution and development of Sui and Tang series novels– it was a unique Kung Fu novel but also played an important role in the history of Kung Fu novel– it turned to “the battling field of honor”from“imperial power”,so the first creation of Kung Fu novel had revealed its importance for the first time since then on; and its key content consisted of battle between heroes and villains as well as chivalry love. This was the key method to compose Kung Fu novels since the Republic of China among which Green Peony had become a pioneer and also provided many experiences. Evolution and development of Sui and Tang series novels was not only a course that stories of the Sui and Tang dynasties grew richer and all figure images gradually tended towards consolidation and enrichment but also a course that private interest was continuously penetrated and developed i.e. the concept of loyal to the throne gradually tended towards dilution but focused on“righteousness”; feudalistic chastity value was weakened and the status of women was improved to a certain extent; and heroes were gradually turned realistic from moral models. Figures in stories were not only the projection of cultural psychology of a nation but also embodiment of time words. Evolution of images such as Qin Qiong and Shan Xiongxin represented a course from gestation to development of loyalism and chivalrous and final disillusion, which can’t survive without the background of the Ming and Qing dynasties. Cheng Yaojin, a comic hero reposed burgher’s dreams to be rich and successful and reflected their attitude of pursuing mortal existence as well as tact and devious approach to life. More and more woman generals appeared in Sui and Tang series novels, awakening of their sexual passion and reinforcement of spirit of resistance are related to unique culture and era background, i.e. more legendary women in the Ming Dynasty; commodity economy was prosperous and the status of women was improved; spiritual sustenance of burgher’s dreams; and influences of woman heroes on courtship. Impressions on breakthrough men’s visual angle could also be found by a toy attitude for portraying appearance of woman generals, neglecting their psychological course or declaring“women used by men only”. Description on love and marriage of woman general was also penetrated with Han Chauvinism. Neither of Sui and Tang series novels was ranked into“classic novels”approximately due to long battlefront and loose construction; different souls or inadequate individuality; different points of views of all story clusters, incompliance of major ideals of all literatures and insufficient profound connotation; and, in the final analysis, lack of a great author for processing and formulation.During diachronic collections and studies and during holistic discussion on a basis of a careful and detailed analysis on specific literatures, such conclusion was achieved: from Tang Dynasty to Chenghua of the Ming Dynasty, there had formed four series Stories of the Sui and Tang dynasties—stories of Emperor Yang, stories of Xue Rengui, stories of Yu Chigong and stories of heroes in WaGangZhai, presenting a trend of continuous enrichment from dispersion to system. The evolution of the Sui and Tang series novels did not break the trend. Since the age from the late Ming Dynasty to the Qing Dynasty, in addition to Sui and Tang series novels, stories of the Sui and Tang dynasties had obtained sustainable development in traditional operas and talking & singing literatures. In this period, traditional operas and talking & singing literatures still mainly focused on after-war prosperity and desert as well as heroic deeds with a multi-university of love and genies herein, which were in compliance with Sui and Tang series novels and even the trend of long-term development of stories of the Sui and Tang dynasties; figures like Emperor Yang, Li Shimin, Qin Qiong, Luo Cheng, Cheng Yaojin, Xue Rengui and Xue Dingshan still occupied the story center and their images were not beyond the keynote specified for a long time but their experiences became richer and their images became solider and more plentiful; stronger secularized interests and emotions with local customs and time spirits blended in give consideration to both features of traditional operas as well as talking & singing literatures and audience’s sensitivity to beauty and acceptance. Their generation could be mainly divided into the following circumstances: (1) adaptation from a novel; (2) traditional operas and talking & singing literatures independently produce stories of the Sui and Tang dynasties; (3) mutual adaption between traditional opera and talking & singing literature; (4) mutual emulation between traditional operas; (5) mutual emulation between talking & singing literatures.Stories of the Sui and Tang dynasties persistently hand down, evolve and develop since the Tang Dynasty, with the development of narrative art accompanied, the multi-university of various materials, crossing and interaction of various styles, sedimentary deposits of a nation’s cultural psychology as well as the manifestation of time words.更多还原