论蒲松龄的儒者情怀——以小说《聊斋志异·黄英》为中心的考察

On Pu Songling's Sentiments of Being a Confucian——With Huang Ying Episode of Strange Stories from a Chinese Studio as the Center of Observation

身处明清社会的转型时期,受大的社会思潮影响,蒲松龄认同商人社会地位的提升,然而在他内心深处仍然认为"儒"是正统。《聊斋志异.黄英》中蒲松龄在传统的菊花意象的文化意义和符号价值的基础上赋予其经济价值和使用价值,在新价值的赋予和消解过程中体现了蒲松龄对儒家文化的遵从。陶弟化菊,黄英不复业菊都表明,虽然商人的地位有所提升,但是最终都要由商回归儒,从中折射出蒲松龄对儒家文化的坚守。在这篇小说中蒲松龄还叙写了黄英与马子才之间理性掺杂其中的一段典型的儒家式的婚姻。作者在抒写爱情和婚姻之际,少了"心学"对个性的张扬,多了儒家固有的理性和温柔敦厚。

Living in the transitional period from the Ming to the Qing Dynasty and influenced by the predominant social ideological ethos, Pu Songling recognized the uplift of social status of merchants. However, he still thought that Confucianism was the orthodoxy in the depths of his mind. As for nese Studio , Pu Songling provided chrysanthemums with economic Huang Ying Episode of Strange Stories from a Chi- and utilization value on the basis of cultural significance and semiotic value in terms of traditional imagery, which embodied his being a follower of Confucian culture in the process of new value endowment and clarification. The turning of Brother Tao into a chrysanthemum plant and Huang Ying＇ s no longer engaging herself in chrysanthemum business showed that merchants would definitely return to Confucianism although the status of merchants was somewhat upgraded,from which we could see Pu Songling＇ s foothold on Confucian culture. In the novel, Pu Songling also depicted a typical Confucian marriage intermingled with rationality between Huang Ying and Ma Zicai. In the midst of love and marriage,the author lacked the extolling of individuality of ＇ mentalism＇, but emphasized the rationality, gentleness, honesty and sincerity deep -rooted in Confucianism.