访唐何求,计程何谋,原位何由?──观世音东行长安与取经故事立象结构(《〈西游记〉美学问议录》之三)

On conceptual structure of Guanyin's journey to Chang'an and Monk Tang's pilgrim for Buddhist scriptures

《西游记》取经故事结构与题旨有个相生相发的演变过程。随着各种相关作品寓言特征的逐步强化,立象结构也产生着变化。百回本突显"心性修持大道"与《心经》"五蕴"课题解决的关系,形成以观世音访求取经人才为主的纲领性结构,以取经"五众"作为体现结构功能的重心形象。小说结构纲领中对取经历程的目标与角色关系的细致安排与全书丰富情节相呼应,既显示"心性修持"需要发挥象罔的思路,又显示各种创造包括艺术创造都需要谋略的哲理。取经团队构成紧扣结构与小说题旨的需要。"五众"是以心行为最活跃因素的个体与整体统一的象征形象。"仁者"与"行者"的统一体现明代心学新进流派的积极思想光源。观世音形象与结构及情节的密切关联,是借佛教菩萨寓言立象的出色创造。

The plots and the theme of Journey to the West both experienced some changes in their development.Guanyin's looking for suitable persons to go to the west for Buddhist scriptures forms the key structure of the novel and Monk Tang and his followers are created to reflect this structure.The arrangement of the goal and the characters corresponds harmoniously to the plots,illustrating that self-cultivation needs to make use of both visible and invisible images,and also pointing out that all kinds of creation including artistic creation need tactics.Monk Tang and his followers represent the unity of individual and group,the unification of showing humane mind and taking action reflects the active thought contained in the neo-philosophy of mind in the Ming Dynasty,while the connection between Guanyin and the structure as well as the plots marks the creation of combing images with ideals of Buddhism.