宋元节日文化与元杂剧孙悟空形象的塑造

The Characterization of Monkey King in Relation to the Festival Culture in the Song and Yuan Dynasties

西游故事世代累积,吸纳了多种文化资源和民间传统的影响。在孙悟空形象发展演变过程中,元代是重要的转折期。元代前只见一心护佑唐僧的猴行者形象,而元末杨景贤的《西游记杂剧》则塑造出一个诙谐滑稽、个性鲜明的孙悟空形象,构成形象的质的飞跃。本文认为,宋元丰富多彩的节日活动作为特殊重要的文化影响场域,为孙悟空的性格特征提供了丰富的滋养,其性格表现与民间节日文化感受世界的方式非常类似,特别是"丑"在节日文化中体现出的诙谐性、逾矩性以及宗教感深刻地影响并塑造着孙悟空的性格,使之从一个平面的护法者形象成长为具有丰富性格特点和艺术气质的独特个体,在蓬勃的元代杂剧表演中脱颖而出,不仅为后来的小说形象奠定了基本轮廓,也间接地影响了整个取经故事的氛围和思想意趣,深刻影响了后世创作。

The stories related to A Journey to the West have been replenished with diverse cultural resources and folk traditions. The development of the character of Monkey King underwent change in the Yuan Dynasty. The Monkey King had been characterized as a devoted guard of Master Xuanzang before the Yuan Dynasty. But in A Play about the Journey to the West, a Yuan-Dynasty play, the Monkey was drastically different and was characterized as a humorous, distinct Monkey King. This paper argues that the diverse festive activities in the Song and Yuan Dynasties were an especially important field of influence for the enrichment of the character of Monkey King. The personality of Monkey King was in accordance with the festive ways of feeling the world, and it was especially influenced by the humorous, carnival sentiments and the religious aura associated with ＂ugliness＂. Thus, Monkey King was transformed from a flat character of a guard for the Buddhist dharma to a distinct round character and stood out in the flourishing productions of Zaju （the miscellaneous plays） in the Yuan Dynasty. The transformation had long-term influence on the future generations of storytelling, for it paved the way to the characterization of Monkey King in the novel, and indirectly had impact on the general style and theme in the story of the journey to the West.