《板桥杂记》中名妓身份性别研究——基于顾媚形象分析

The Study of the Identity and Gender of Famous Courtesans in Ban Qiao Miscellanies——An Analysis Based on the Image of Gu Mei

作为《板桥杂记》中着力塑造的秦淮名妓之一顾媚,其色艺无双而富有才情,但著者余怀在为其立传时,于名妓顾媚故事的末尾提到了一位良家女子童夫人。雕木为子的顾媚与拒绝清廷诰封的童夫人,二人形成鲜明对比的背后,体现了以余怀为代表的文人知识分子对名妓的多重定位:一方面视她们为女性关注其风姿绰约多情浪漫,另一方面又视她们作才艺卓绝的知己,关注其显现的士子气质,而在此过程中,作为主角的女性却集体失声,任由男性执笔者遣词造句,对其加以评判。

Gu Mei, one of the famous Qinhuai courtesans in Ban Qiao Miscellanies, has no rival in her charm and artistry, and shows a great talent. When writing a biography for her, the writer Yu Huai mentions a well-brought girl named Madame Tong at the end of the story. The striking contrast between Gu Mei, carving a son from wood, and Madame Tong, rejecting the conferment of honorary title from the court in Qing dynasty, reveals various identities given to the famous courtesans by the intellectuals represented by Yu Huai: on the one hand, famous Qinhuai courtesans are considered as charming and romantic, and on the other hand, they are viewed as the confidants with the temperament of traditional Chinese intellectuals. However, in this process, women are voiceless, and their images are represented by male writers.