藕叶清香胜花气——论香菱名字的文化寓意与现实批判性

Cultural Implications and the Reality Critical of Xiang-ling: the light aroma of lotus leaf is better than the strong aroma of flower

曹雪芹将屈子所创的美人香草意象象征手法运用到小说叙事之中,使喷勃着"烈香"的"金桂"与弥散着"清香"的"莲菱"形成了一组相互对峙的象征性意象,其中蕴藏着浓缩了的文化信息和一番"微言大义"。香菱的血脉及文化渊源来自于具有高人逸士身份的甄士隐,而"金桂"象征着世俗文化中的道德观和价值观。高人逸士正是曹雪芹正邪二赋所来的"与世难容""有命无运"的人物,他们与世俗的文化价值相抵触,深受其压抑,而"莲菱"意象与"金桂"意象正完成了这样一种象征喻示。在这种象征意象背后,是审美文化与价值观的巨大差异,而曹雪芹正是通过意象暗寓褒贬,寄托他的文化理想。

Cao Xue-qin applies the symbolism of The Beauty of Flowers and Grass raised by Qu Yuan （ a famous scholar and poet in Warring States Period from 403BC-221BC） to the narration in novels, which presents a kind of contrastive symbolic image of ＂Golden Sweet Olive＂ that smells strong and ＂Lotus and Water Chestnut＂ that smells mild. This kind of literature method shows abundant culture information and significant implications. The name and origin of Xiangling （ a female image in A Dream of Red Mansions） comes from the elegant hermit called Zhen Shi- yin, while the ＂Golden Sweet Olive＂ symbolizes the traditional and conventional aesthetics and values. The so- called soul of elegant hermit originates from ＂ the combinational style of righteous and evil＂ as stated by Cao Xueqin. The values obtained by the elegant hermit are contrary to the society and these people have great talent but little luck under great social pressure. The two symbolic images of ＂Gulden Sweet Olive＂ and ＂Lotus and Water Chestnut＂ show a big difference between aesthetic culture and values. Cao Xue-qin impliedly expressed his praise and satire, and implicates his culture dreams through these two symbolic images.