后《九歌》时代的《神女赋》——在继承和背叛中基于理性与道德的文学感知

A Reason-and-moral-based Literary Perception of Song Yu's Shennü-fu in the Post-Jiuge Age——A Combination of Inheritance and Betrayal after Qu Yuan

与屈原《九歌.山鬼》中山鬼形象不同的是,宋玉《神女赋》中的神女在即将获得爱情的时候,不敢遂心所愿。神女由爱却不敢爱而生成的痛苦和忧伤,在理性与道德面前作出了让步。毋宁说《神女赋》是作家对诸如“物欲与情感”、“肉体与精神”等涉及到思想、道德和哲学的问题所作的文学阐释。它的出现,构成了对以屈原为代表的荆楚文学神话浪漫主义精神的反省;也意味着荆楚文学神话浪漫主义文学创作的衰微。其基于诗性感知的理性视阈,也预示着后世以“良心道德”为内涵与宗旨的文学创作的兴起。

The image goddess in songyu＇s “shennvfu” （a fu about a goddess） dare not to accept love satisfiedly when it comes. This is different from image shangui （a goddess lived in mountain） in Qu Yuan＇s “jiugeshangui”. Though the goddess in “shennvfu” is painful and distressed,she make a concession in face of reason and morality. Therefore, this love pattern raised by songyu＇s shennvfu ,in some sense, has formed the ponderance and reflection on it expressed by Qu Yuan＇s “jiuge”. In this sense ,shennvfu is the literary interpretation about some problem which involved thought, moral,and philosophy, such as “material desires and emotion”“the flesh and the mind” etc. The appearance of shennvfu formed the introspection to the myth romanticism in JingChu literature whose representative writer is Qu Yuan. Meanwhile, it also implicate the creation of JingChu myth romantic literature become declined. Its reasonable visual threshold based on poetic perception indicate that the later literature creation which think“conscience and morality” as connotation and purpose spring up.