“载道”的乌鸟——辞赋中的乌意象论略

Crow and the Confucian Enlightenment——The Crow Imagery in Prose

由于地区和时代风俗的不同,人们对乌鸦的喜恶或有差异。但乌鸟意象作为中国文学中较为复杂的意象之一,却一直为文人墨客所喜爱。此意象不仅涵义丰富,而且在辞赋中又和其在诗词中有显著的区别。唐前,辞赋中的乌鸟是作者借以表达"出"、"处"生存观念的寄托,乌意象亦随辞赋作者表情达意的需要"出""处"儒道两家,其中《神乌傅》正反映了作者在"出"、"处"间的徘徊和抉择。有唐一代,乌意象的灵异祥瑞成为辞赋书写的重要内容。宋以降,辞赋中的乌鸟渐渐摆脱了其作为祥瑞之兆的使命,而被赋予了更多的儒家道德品性。此时的乌意象集忠、孝、仁等儒家大加称扬的道德于一身,堪称"奉行"儒家伦理道德的典范。而明代《孝乌赋》,凸显乌鸟意象的"孝"德,是彰扬乌意象孝行的典型作品。

Because of the differences of region, time, and customs, people have different attitude towards crow. However, the image of crow has always been favored by men of letters in China, This image, one of the complex images in Chinese hterature, enjoys rich contents. In ci and fu, the image of crow is quite different from that in poem. Before the Tang dynasty, crow in ci and fu expressed the idea of the authors concerning their decision ＂to be an Official or a hermit＂, which owed much to Confucianism and Taoism. Devine Crow best reflected the dilemma of the authors with regard to this decision. In the Tang Dynasty, the auspicious crow was the major theme of ci and fu. Later in the Song Dynasty, the auspicious feature faded and crow was endowed with the nature of Confucian morality, integrating the Confucian ideas of loyalty, filial piety, and benevolence. In the Ming Dynasty, as manifested in Filial Bird, filial piety was highlighted.