《聊斋志异》悍妇群新论

A New Approach to the Shrew Group in Strange Tales from a Chinese Studio

《聊斋志异》中的悍妇不仅数量众多，且可构成一体系完备的悍妇群。对《聊斋志异》悍妇的研究，多从婚姻观、宗教观角度分析，以“正风俗”、现实反映论以及男权投射论最为典型。然这些理论都不能尽解《聊斋志异》悍妇盛行之因。在明末清初特殊的社会背景下，蒲松龄深受“夷夏之辨”的思想意识影响，并深深影响其《聊斋志异》的创作；但清代文字狱迭发，抒发自己家国情怀，只能以迂回委婉的方式表达。悍妇便是这一家国情怀抒发的载体之一，其象征意义大于现实意义。了解悍妇的象征意义，对研究蒲松龄《聊斋志异》的创作有一定的意义。

Shrews in Strange Tales from a Chinese Studio not only are great in number but also forms a complete picture of its group. In the past, studies on the shrews in this novel were from such aspects as views on marriage and religions, and the most typical views were to redress customs, reflect social practice and patri-archy projection. These theories, however, fail to satisfactorily explain the prevailing of shrews in this novel. Under the unique circumstances of Ming and Qing Dynasty, Pu Songling, the novelist, was deeply influenced by the ideology of “distinguishing Central China from its neighbors”, which has a profound influence on his literary works. As literacy inquisition occurred repeatedly in Qing Dynasty, writers had to seek a roundabout way to express his feeling. The group of shrews in Strange Tales from a Chinese Studio was thus formed. The novelist found his voice in the shrews and the shrews carry with them more symbolic meaning than realistic meaning. To know the symbolic meaning of the shrews helps readers understand Pu Songling and his literary recreation.