“和亲”神话的创造性想像——对郭沫若历史剧《孔雀胆》的再读解

A STUDY OF THE HISTORICAL PLAY KONG QUE DAN BY GUO MORUO

在对《孔雀胆》主题的几种不同理解中,很少有人注意到郭沫若曾表明他是“企图写民族团结”。本文从“和亲”这个故事核心入手,考察了阿盖公主等“牺牲”女性形象的来源,发现阿盖的不幸遭遇是献祭仪式中“少女牺牲”原型的“再现”。前人研究认为《孔雀胆》和创作于同一时期的《棠棣之花》、《屈原》、《虎符》等存在着明显差异;但本文发现,《孔雀胆》与上述剧作存在着内在联系———它们是同一个原型意象在不同剧作中的显现。对这种联系的把握有助于我们深入理解郭沫若是如何创作了这些历史剧。

Few people noticed that Guo Moruo once showed that he intended to write about national unity in a few understandings of Kong Que Dan. Starting with the core of the story -- attempting to cement relations with rules of minority nationalities in the border areas by marrying daughter of the Han imperial family to them, the author studies the sources of several sacrificed female images, discoverying that Agai＇ s misery turned out to be the imitation of ancient consecration. The predecessors held that the creation of Kong Que Dan was different from those of the plays, such as Water Lily （ Tangdi Zhi Hua） , Qu Yuan and Great Keepsake （ Hu Fu） in the same period. However, the author thinks that in the sense of character＇ s fate and the drama＇ s inner structune, Kong Que Dan is similar to the above-mentioned several other works by Guo Morou. They are nothing but the same archetypal images displaying in different plays. Grasping the contact will help us deeply comprehend how Guo Moruo created those historical plays.