頁籤選單縮合
題名 | 淺探明代中、晚年至清末寶卷與寶卷中孟姜傳說的遞變--以「佛說貞烈賢孝孟姜女長城寶卷」、「長城寶卷」、「孟姜仙女寶卷」為例 |
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作者 | 范長華; | 書刊名 | 臺中師院學報 |
卷期 | 9 1995.06[民84.06] |
頁次 | 頁113-136 |
分類號 | 826.15 |
關鍵詞 | 明代; 清末; 寶卷; 佛說貞烈賢孝孟姜女長城寶卷; 長城寶卷; 孟姜仙女寶卷; |
語文 | 中文(Chinese) |
中文摘要 | 現代正德年間始有寶卷刊刻行世,萬曆、崇禎年間甚為流行,康熙年間逐漸沈寂,同治、光緒年間再度盛行於江浙一帶。 寶卷有前後期之分,同光年間流行的為後期寶卷,又稱「宣卷」。為避免與「宣講寶卷」語意混淆,本女仍用「後期寶卷」的名稱。 《佛說貞烈賢孝孟姜女長城寶卷》、《長城寶卷》、《孟姜仙女寶卷》,這三本寶卷在時代上橫跨明代中晚年至清末,頗有代表性。筆者在前賢的研究基礎上,從這三本寶卷入手探究,或可窺知這一大段歷史長河中寶卷形式與表現手法,以及寶卷中孟姜傳說的遞變情況。 從三本寶卷可以發現明代中晚年至清末寶卷在形式與表現手法的遞變軌跡如下:1.前期寶卷多沿襲佛經分品以及宣講的形式,後期則不分品,較注重情節的完整與緊密。2.寶卷曲牌數量遞減,民間流行小曲增加。3.後期寶卷的散文部分漸能揚棄冗長陋習,文筆流暢。4. 修辭技巧上,當然是後來居上,手法靈活,倍添趣味。 三本寶卷的孟姜傳說,從明代中晚年至清末的遞變特色有:1.男女主角的姓名與出生地,或因音近而變,或因形近而變。2.孟姜必在池溏中見到喜良,保有古代「裸浴結親」的習俗痕跡。3.二人婚配情節,由因果命定色彩漸趨於合情合理。4.前期寶卷多對秦始皇歌功頌德,清末寶卷則將民情怨憤一泄無餘,同時取消蒙恬角色,始皇難辭其咎。5.尋夫過程是由法力無邊的無生老母信仰逐漸淡化,而孟姜女哭城的力量卻愈趨強大。6.三卷都極力宣揚孝道倫理。7.三卷均保留先民「人犧奠城」與「厭勝」民俗。8.三卷都極力渲染孟姜女的殉夫,或投海,或投水,終返仙鄉,呈現生命昇華與再生的象徵意義,深具「哀而不傷」的民間文學傳統審美本質。 |
英文摘要 | The Pao Volume had been off the engraving since Cheng Teperiod in Ming Dynasty and considerably popular during Wan Li and Chung Chen periods. In Kang His period, it was getting quiet and again getting prosperous over Chiangsu and Chechiang during Tung Chin and Kuang Hsu periods. There are the former and the latter Pao Volume. The Pao Volume which was popular during Tung Kuang period is the latter one and it is also named "Hsuan Volume", In order not get confused and mixed with "Hsuan Chiang Volume", the essay will use the name of "The latter Pao Volume". Times of the three Pao Volumes, "Buddha Talking Virtuous & Filial Woman Meng Chiang And Great Wall Pao Volume", "Great Wall Pao Volume" and "The Fairy Meng Chiang Pao Volume" was across the periods from the middle and late Ming Dynasty to the late Ching Dynasty. They were very representative. Approaching the three Pao Volumes, based on the former researchers' study, the writer can watch the style and performance skill of the Pao Volumes along the long history viver as well as the situation of progressive movement of Meng Chiang Folklore in the Pao Volume. From the three Pao Volumes, we can find track of the progressive movement in style and performance skill of the Pao Volume from the middle and late Ming Dynasty to the late Ching Dynasty as follows: (1)Most of the former Pao Volumes followed the Sutras in chapter separation and oration style and the latter emphasized more in complete and compact plot without chapter separation. (2)Quantity of Pao Volume tunes was progressively decreased and the popular folk tunes were getting increased. (3)For the part of prose, the latter Pao Volume gradually could get rid of the bad verbosity and perform a smooth literary talent. (4)In rhetoric skill, certainly the late comer ends up in front. The skill was more active and clever and getting double fun. The characteristics of the progressive movement in the three Pao Volumes of Meng Chiang folklore from the middle late Ming Dynasty to the late Ching Dynasty are as follows: (1)Names and places of birth of the leading male and female roles were changed due to close pronunciation or changed due to close style. (2)Meng Chiang had to see His Liang on a pond. It showed a track of ancient practive. "Naked bathing for marriage". (3)Marrying plot for the couple gradually was getting to be logical and reasonable from a color of destined causality. (4)The former Pao Volumes mostly gave praises to Chin Shin Huang and the Pao Voumes in the late Ching Dynasty not only removed condition of the people's bitterness, left nothing, but also cancelled the role of Meng Tien. It was hard for Shin Huang to shirk his responsibility. (5)In the processes of her looking for husband, color of religion like the immortal Grandma with limitless power was getting light, nevertheless, the strength of Meng Chiang crying the Great Wall was getting stronger. (6)The three Pao Volumes all completely exalted ethics of filial piety. (7)The three Pao Volumes all remained ancient people's practices. "Offering wall with people sacrifice" and "To be tired of victory". (8)The three Pao Volumes all made exaggerated the situation in Meng Chiang's dying for hsband, or jumping into the water or jumping into the sea and finally returned to Paradise. It appears life sublimation and significance of more symbols, with very performance of a traditional estheticism in folk literature, "sorrowful but not sad". |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。