从“女弹男听”到“男弹女听”--“莺莺听琴”故事的文化生成与文学价值

From "women play and men listen" to "men play and women listen"--Cultural Generation and Literary Value of the Story of Yingying Listening to the Qin

《西厢记》中为大众所熟知的“莺莺听琴”情节,最早来自董解元所作《西厢记诸宫调》,是对元稹《莺莺传》“听琴”情节的改写,实现了“听琴”主体的男女转换,由“女弹男听”变为“男弹女听”。这个情节的改写,一方面是继承了司马相如琴挑卓文君历史故事母题的情节构造,另一方面也是深植于唐宋古琴文化流变之土壤。本文梳理了“莺莺听琴”故事从《莺莺传》到董解元《西厢记诸宫调》再到王实甫《崔莺莺夜听琴杂剧》的演变过程,从宋代古琴与文人关系、琴乐欣赏活动主客关系、宋人琴歌创作风尚等方面讨论了宋代古琴文化对“莺莺听琴”情节生成的影响,并指出这个情节的定型意味着以崔莺莺为代表的女性形象在文人的爱情构想中由审美客体“尤物”变为审美主体“知音”,对后世文学创作心理产生了深远影响。

The plot of Yingying listening to the Qin,which is well known to the public,realizes the transformation of the subject of male and female in listening to the Qin.The rewriting of this plot,on the one hand,inherits the plot structure of Sima Xiangru and Zhuo Wenjun's historical story motif;on the other hand,it is also deeply rooted in the.soil of the cultural evolution of the ancient Qin in the Tang and Song dynasties.This paper reviews the evolution of the story of Yingying Listening to the Qin,discusses the influence of the ancient Qin culture of Song Dynasty on the plot generation from the relationship between the ancient Qin and the literati,the relationship between the subject and object in the appreciation of the Qin and the creation fashion of the song in Song Dynasty.The stereotype of this plot means that the female image represented by Cui Yingying changes from aesthetic object(beauty)to aesthetic subject(bosom friend)in the literati's love conception,which has a profound influence on the psychology of literary creation in later generations.