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《红楼梦》的宗教书写分析与探源
【作者】 陈国学；
【作者基本信息】 南开大学 ， 中国古代文学， 2009， 博士
【摘要】 《红楼梦》的宗教书写是非常复杂的,它承继了多种与宗教密切相关的文学传统,构成其超现实世界描写。这几种文学传统在旨趣上关系复杂,小说整体的张力多义色彩即与此有关。而文本的现实世界描写在人物形象和创作特点方面也与宗教思想有曲折复杂的联系。本论文即致力于这部古典小说颠峰之作与宗教的关系的研究。序论部分分析《红楼梦》宗教书写的复杂性、研究现状和拓展空间。到目前为止,关于《红楼梦》宗教书写的研究主要集中在讨论小说的主题与色空观的关系上,产生了多种看法。而《红楼梦》结构的最大特点是在现实世界的故事主体之外,并存三重宗教色彩很重的“他界”框架:石头入世----回归的循环框架,由于与佛道教度脱剧关系密切,从宗教研究的角度,我们称之为“僧道框架”;神瑛侍者与绛珠仙子的三世情缘框架,由于以道教谪凡形式出现,我们称之为谪凡框架;关于太虚幻境的描写从更大的范围内笼罩全篇内容,我们称之为太虚幻境框架。这三重他界框架的描写牵涉到不同的文学传统,富含不同的宗教色彩,对整个文本的解读分别产生不同的导向,增加了文本的哲理内涵。这是小说与宗教比较明显的联系。而小说塑造的第一主人公贾宝玉及整部书都富于性灵色彩,与禅宗思想有曲折的联系。按照这个大致的思路,论文主体部分展开如下:第一章讨论僧道框架,涉及到僧道合一现象与佛道教超凡脱俗的共同追求等相同点的关系,及小说通过对佛道教度脱文学传统因素的继承而构建的度脱文学框架,预示着主人公贾宝玉出家的结局。其要点归结到佛家“情生性迷”的见解,彻底否定人世之情,当作为情圣的贾宝玉在僧人的指点下明了这一切时,他必将跟随僧人出家而去。最后分析石头入世一回归故事在这一框架中的寓意及独特的内涵。第二章谪凡框架,主要探讨神瑛侍者与绛珠仙子的三世情缘与因果报应思想的关联,分析它对劝惩与教化思想的突破,认为其特点在于突出“情”的缠绵悱恻,此不灭之情与佛家“十二因缘”思想中“爱"之所生有关。第三章主要探讨太虚幻境框架的内涵,分析太虚幻境综纳了道教天界、海外仙山与洞天福地的特点,探索警幻仙姑形象的由来与独特意义,认为这一形象最突出的地方是对晚明清初主情文学作品中超现实情使形象的升华。本章还分析了“薄命司”的历史文化渊源----明清才女的崛起与才女薄命的共同感受,以及此框架作为一个梦的描写对历代梦文学的集大成。第四章对《红楼梦》宗教书写进行整体观照,指出三重他界框架之间存在的矛盾、互补、呼应等复杂关系,小说的宗教书写中包含的谶验色彩及其渊源,全书宗教书写的整体立场与特点:对超现实世界描写的荒唐感与对涉足佛门的青年女性的人文关怀色彩。第五章论述《红楼梦》整体上的性灵文学色彩与宗教思想的关系。《红楼梦》深受晚明以来“童心说”、“性灵说’’和汤显祖的“至情说”等性灵派文艺理论的关系。它们都强调对真性情的抒发,强调真实自然,重视独立、创新,摒弃了传统的功利主义文学思想。本章并进而探索这些文艺理论与禅宗色空不二思.想的关联。第六章专门探讨贾宝玉形象与宗教思维的关系。简单的“反封建”说不能概括贾宝玉这一形象的特点,他不无嗜欲(“几种千奇百怪说不出口的毛病”)却能在一定程度上遵守礼节、不做伤天害理的事情,并葆有仁爱的天性和无处不体贴的慈悲情感,体现出一种“不离情而合礼”、“不舍情欲而证天理”的特点,并有明显的仁慈色彩,其根源可追溯到晚明“儒禅合一”思想及禅宗的“色空不二”思想。本章还专门探讨王畿的思想对贾宝玉形象的影响,认为贾宝玉具有王畿强调的“(人人本有的)良知”、即“天然灵气”的特点,其表现就是既自然天成又合乎规范。因其以天然真情贯穿儒佛仁爱思想以及其神仙思想也是对女性的审美情感的升华,我们称之为“以情统三教”。这样的思想在清代是受到官方的批判的,贾宝玉因此必将悲剧结局。第七章就后四十回的有关问题进行探讨。先看后四十回从整体上有没有偏离三大框架的范围。后四十回紧扣通灵宝玉意象,完成了宝黛钗爱情婚姻悲剧和通灵宝玉回归青埂峰的描写,尤其对于贾宝玉出家前后的经过写得比较成功。后四十回有回归到以因果报应来劝善惩恶的模式的特点,特别是对赵姨娘、王熙凤的描写,这与前文并不完全矛盾,因为前八十回也利用过因果报应框架。惜春、紫鹃的出家描写与贾宝玉的结局一样,包含着对于人世之情的价值的否定,是小说一种无可奈何的结局,也许是符合曹雪芹原意的。不足之处在于,与其他描写一样缺乏自然灵气,整体艺术水平比不上前八十回。
【Abstract】 The content regarding of religion in Dreams of the Red Mansion is extremely complexed. It inherits several literature traditions which are all close to religion and form its surrealist world. The relation on the tenet of these literature traditions is also complexed, which concerns the conflicting and multimodal flavor of the novel. This dissertation tends to analyze the relations between the most excellent Chinese classical novel and religion.The introduction analyzes the complexity of the content which is regarding of religion of the lonely, present researches into the issue and the space about the issue. So far, the researches into the issue focused on relation between the topic and the Concept of form and emptiness, generating several kinds of conclusion. But the most obvious character of the structure of the level is that there are three kinds of frame regarding religion besides its body story: the frame about the stone entering the world and then going back ,which we call the frame regarding monk and Daoist because it has nearly relationship with Buddhism or Daoism drama; the frame about the passion between Shen-ying waiter and Jiang-zhu fairy bounding three periods what we call Come-down-to-earth; the frame about the Very Unreal Place .The portrait about the three frame concerns different literature traditions and contains different religious meaning, what guide readers to understand the novel on different direction and increase the philosophical color. At the same time, there are rich spirit color on Jia-baoyu, the hero of the novel, and the whole story, which has tortuous contact with Zen. Generally in accordance with these ideas, the main part of thesis expands the following direction:The first chapter mainly studies the frame regarding monk and Daoist priest , concerning about the phenomenon of the convergence of the monk and the Daoist priest that they step likely beyond the ordinary .Then, the novel inherits many kinds of factors of Enlightment literature which predict the ending that Jia-baoyu will leave the world. The key point lies in that on the one hand, Jia-baoyu is the most sentimental person; on the other hand, Buddhism doctrine announces that when one person’s passion comes, his birthright intelligence will lose, so Buddhism completely negative human’s passion. So Jia-baoyu will face a kind of tragic ending. When he understands all this attributed the monk’s pointing, he will leave the world following the monk.The second chapter mainly studies the frame of Come-down-to-earth. The passion between Shen-ying waiter and Jiang-zhu fairy bounding three periods have relationship with the cause and effect theory of Buddhism, but when Cao-xueqin depicted this story,he broke through the traditional thought that encourages people to pursue righteousness and abandon evil. The writer focuses on the exceedingly sentimental passion which is eternal .In fact, it is the "love" what is one of the 12 conditioned and conditioning factor that spread forever in Buddhism think.The third chapter discusses the frame of the Very Unreal Place. The conception of the Very Unreal Place come from Taoism’s heaven、overseas holy hill and the heaven in cave which is happily place, but when the author describe this place ,he often hint women’s tragedy. As the supreme godness, Jing-huan fairy is in charge of love. This figure come from Xi-wangmu、Wu-shan fairy、Luo river fairy, etc, But she is still more a sublimate of gods who are in charge of love emerging in literary works of the later Ming Dynasty and the early Qing Dynasty. The Very Unreal Place come in Jia-baoyu’s dream. The portrait about this dream is an agglomeration of dream literary works of all the past periods: love dream、prediction dream、philosophy dream.In the forth chapter we have a whole outlook into the content regarding religion of the novel, analyzes the relationship of three frame regarding religion, including contradiction、echo, complementary.Then we analyzes the prophecy in the content regarding religion, trace back to their religious origin.Final, we summarize the whole feature of the content regarding religion: the absurd sense in the portraite about unreal world and the esteem sense about young lady that come into or out of Buddhism.The fifth chapter discusses the relation of the spiritual style of the whole novel with religion thought. The creating of Dreams of the Red Mansion was deeply influenced by later Ming Dynasty literature theory, such as, "theory of Innocence", "Spirit Of Nature", "theory of Admire Sentiment", and so on. They all stress on the expression of emotions, emphasize the sincerity and nature and highlight the value of independence and innovation and abandon the traditional utilitarianism thinking. They all have something to do with Buddhism, esp: Zen.The sixth chapter study specially in the relation of Jia-baoyu and religion thought. The viewpoint that Jia-baoyu is anti-feudal couldn’t justify itself. Jia-baoyu has indulgence and aspirations (he has several kinds of queer trouble that couldn’t be named.);but he could keep to ceremony To a certain extent and don’t Go back on justice. What’s more, he also have natural instincts of benevolence and considerateness. These prove that Jia-baoyu have the characteristic that integrate feeling into ceremony and Neo--Confucianism ,whose source lies in the later Ming Dynasty trend of thought that integrate Zen into Confucianist. All things Jia-baoyu did are based on his real passion, but is not disobeying manners. In this chapter, we also discuss the influence of the thought of Wang-ji on Jia-baoyu. We considered that Jia-baoyu have the characteristic of conscience which is everyone has on himself and also be called of natural spirit. Its performance is that all thing Jia-baoyu have done is narural but is conforming with standard . Jia-baoyu solid the idea about benevolence of Confucian school and Buddhism with real passion.His thought of celestial is also sublimation of real passion.So we say that he integrate three religions with real passion. This thought is faced with official critique, so Jia-baoyu will certainly entry a tragedy result.The seventh chapter deal with the problem of later forty sections .First of all, we discusses if later forty sections have deviate the range of three frames. Closely combining the portrait about the magic stone, the later forty sections finish the love and marriage tragedy of three persons, Jia-baoyu and Lin-daiyu、Xue-baochai.Then it finish the return of the magic stone to "Qing-geng peak". These are successful. Especially, the novel successful depict the process about Jia-baoyu’s enter into religion . The later forty sections have the character of returning to the thought of Karma that encourages people to pursue righteousness and abandon evil, especially the depict about the end of Aunt Zhao and Wang-xifeng. But this isn’t completely violate the front’s content, because the front’s content also make use of the frame of karma. Similar to the end of Jia-baoyu, the entering into religion of Xi-chun and Zi-juan means negation of passion. Perhaps it is a kind of helpless end and consistent with Cao-xueqin’s original intention.