《平妖传》研究

【作者】 李贤珠；

【导师】 黄霖；

【作者基本信息】 复旦大学 ， 中国古代文学， 2008， 博士

【摘要】 《三遂平妖传》又可简称《平妖传》,是中国文学史上第一部长篇神魔小说。它取材于历史上北宋仁宗年间的王则起义,是以历史事实为基础,结合民间神话、传说以及前人的话本、小说,整理编撰成的一部书。书成于明初,共二十回;后经过明代后期的增补,形成四十回本,并取代二十回本在社会上流行起来。这部小说作为长篇章回体神魔小说的开创者,对之后产生的《西游记》等一系列神魔小说作品,起到了先锋作用并产生了很大的影响。而且在流传到日本韩国等周边国家后,也对这些国家的神魔小说创作产生了积极的作用。因此,对《平妖传》进行研究,具有重要的意义。而已有的关于《平妖传》的研究,往往局限于对《平妖传》版本和作者的讨论,对作品进行全面的研究还很不够,因此,对《平妖传》进行全面的研究,是很有必要的。本文就是在前人研究的基础上,对《平妖传》版本、作者、两种韩译本、作品的文学艺术成就等方面,进行较为全面的分析研究。本论文的绪论部分,介绍了《平妖传》现有的研究成果。由于研究成果尤其是版本和作者方面成果已经较多,而且研究者们意见不一,因此我们专门用了一章来介绍研究现状。论文第一章,对《平妖传》的版本进行了讨论。我们从整体上分为明代和清代两个时期。明刻二十回本现在所见有两种,都属同一版式,大致在明万历年间刻成。明刻四十回本现存也有两种,我们认为,天许斋本是冯梦龙增补后的初刻本原本,嘉会堂本是初刻遭火后冯梦龙重刻的原本。清代仅有四十回本,都属嘉会堂本一系。论文第二章,对《平妖传》的作者问题进行了探讨。我们认为,二十回本的作者署名为“罗贯中”只是托名,真正的作者并不是他;由于资料和证据的缺乏,我们现在还不能肯定真正的作者到底是谁。四十回本一般认为确为冯梦龙所增补,我们也赞同这样的观点;从四十回本编撰时间来看,这可能是冯梦龙一生编撰整理通俗小说的开始。第三章对《平妖传》的文学成就进行了讨论,主要进行了作品人物及其活动空间的分析,以及讨论了二十回本与四十回本各自的主题。为方便讨论,我们根据活动空间,将人物划分为天界人物、妖界人物和人界人物,不仅分析了他们各自的形象和特征,还对各界之间的关系进行了详细地描写和分析。关于二十回本和四十回本的主题,我们认为彼此很不相同。二十回本主要表现出对现实社会的不满和批判;而四十回本则主要表现出宿命论的思想。论文的最后一章,我对两种韩译本的《平妖传》进行了研究。通过详细的对比、描写和分析,确定了这两种韩译本《平妖传》所依据的中文版本、主要的翻译方式、以及两者之间的关系,纠正了前人一些不正确的看法。在一定程度上对这个方面的研究起到了填补空白的作用。通过本论文的研究,我们对《平妖传》有了一个较为全面的了解。这对于进一步研究神魔小说或明清小说的全貌,以及研究中国小说对周边国家的影响、周边国家尤其是韩国神魔小说的创作,都能起到积极的作用。更多还原

【Abstract】 Sansui Pingyao zhuan which is also called Pingyao zhuan (Taming Devils) is the first novel on spirits and devils in the history of Chinese literature. It was drawn from the uprising of Wang Ze during Song Dynasty under the reign of emperor Ren. So this novel was written based on historical facts, combining folk myths, legends, as well as the predecessors of this novel. It was completed in the early Ming Dynasty, consisting of 20 chapters. With later additions in the late Ming Dynasty, it was expanded to 40 chapters and gradually replaced the previous version of 20 chapters.As the pioneer of chapter-novel (traditional Chinese novels with captions for each chapter) in Chinese literature, pingyao zhuan exerted a far-reaching influence on series of later novels on spirits and devils such as Journey to the West. Meanwhile, after being transmitted to other neighboring countries such as Japan and Korea, it also exercised a positive impact on novel creations of this type in these countries. So in this sense, it is of great significance to carry out a thorough study of this novel. At the same time, previous studies only confined themselves to discussions of different versions and the author of this novel. To this day, there is no complete and thorough study concerning this novel. Therefore, it is also necessary to conduct a comprehensive study. Given the afore-mentioned situations, the author of the present dissertation attempts to carry out a thorough study concerning the versions, the author, the artistic achievements, and two different Korean versions of pingyao zhuan.The introductory part of the dissertation mainly focuses on previous studies. There are a large amount of literature on the versions and the author of the novel and researchers have no consensus of opinion concerning these two questions thus far. Therefore, a special section is allocated to introduce the status quo.ChapterⅠmainly discusses the version of this novel. In order to clearly analyze this issue, the author of the dissertation divides two periods which are Ming Dynasty and Qing Dynasty. There are altogether two versions of the type consisting of 20 chapters in Ming Dynasty. These two versions belonged to the same format and were complied during the wanli period. As to the type consisting of 40 chapters, there were also two versions in Ming Dynasty. While in Qing Dynasty, there only existed the version which consisted of 40 chapters.ChapterⅡexamines the issue of the author of the novel. Although we are not really sure who is the author in the end for the lack of information and evidence, we believe that the signature which reads "Luo Guanzhong" in the 20-chapter version does not suggest that Luo is the real author. Concerning the 40-chapter version, it is generally acknowledged that it is Feng Menglong who supplemented and compiled the original version. The author of the present dissertation agrees to this opinion. From the compiled time one can tell that this novel indicated the start of Feng Menglong’s life of novel compilation.Chapter Three delves into the artistic achievements of pingyao zhuan, focusing on the protagonists, the living space of the main characters, and the corresponding themes of the 20-chapter and 40-chapter versions. In order to better carry out the discussion, we classify the protagonists into three categories which are Characters of the Heaven, Characters of the Devil, and Characters of the Mortal based on their corresponding living space. This chapter not only analyzes the images and characteristics of these characters but also expounds on their interrelations. As to the theme of these two different versions, the author of the dissertation holds that they have different inclinations. The 20-chapter version mainly depicts or displays the dissatisfaction and criticism toward the reality, while the 40-chapter version mainly manifests deterministic thoughts.ChapterⅣexamines two different Korean versions. Through detailed comparisons and analysis, it finds the Chinese originals, main translation methods, and the relations between these two versions. To a certain extent, this study is pioneering in the sense that it rectifies previous incorrect thoughts concerning the afore-mentioned issues.Through this study, people can firstly gain a comparatively thorough understanding of pingyao zhuan. It can also play a positive role in understanding novels about spirits and devils and in grasping the panorama of novel creations during the Ming and Qing Dynasty. Lastly, it can cast light on the impact of Chinese novels on novel creations of neighboring countries.更多还原