在神圣与世俗之间——论戏曲叙事与神话结构运演的关系

Between Sacred and Secularity:On the Relationship Between the Narrative of Chinese Traditional Operas and the Conversion of the Mythical Structure

宗教将世界二重化为神圣世界和世俗世界,神圣源自凡俗众生为超越现实困境而引发的终极关切,世俗生活的真实意义也就建立在领会神圣的基础上。偶神作为巴比伦的塔穆兹、埃及的奥西里斯、希腊的阿多尼斯、印度教的摩醯首罗等创世再生神的象征符号,在中国汉唐之际以"摩醯首罗-维什帕克"名于世。经佛教、祆教等辗转引渡,创世神话运演出"弄傀儡"、弄化生(弄摩睺罗)、傀儡嘉礼(如礼毕)、宋代七巧节、除煞降妖等宗教和礼俗行为,当下傀儡愿戏为其活态传承。除煞·赛神叙事与功利型、情性型、伦理型、政治型等婚姻叙事都是创生神话结构因应中国社会变迁的转换。戏曲叙事结构张力的弱化是对神话结构的消弭,是世俗化的结果,也是其蜕变为案牍文学的深层原因。

An idol, a symbol of genesis god, such as Babylonian Tammuz, Egyptian Osiris, Greek Adonis, Hidu Mahesvara, Was well- known as ＂Mahesvara-Weshparker＂ in the period from the Han to the Tang Dynasty, which, absorbed and transformed by Buddist and Zuroastrian religions, evolved into puppet play, metaplasia play, puppet jiali, some religious activities such as evil-and-devil exterminating customs such as the Qiqiao Festival. The current puppet play is actually the heritage of the forms. And the civil-exterminating, narratives about gods, and all types of narratives of marriage, such as those of utilitarianism, emotion, ethics and politics, are all the conversion of the ancient mythical structure in the successive changes of the society. The weakening of the tension of the narrative structure of the traditional operas is the result of the disappearing of myth and its secularizing.