论梁祝大小传统写本“同冢”母题的重构

On the Reconstruction of the“Being Buried Together”Motif of“Butterfly Lovers”in Texts of Great Tradition and Little Tradition

梁祝结尾的“同冢”母题在大传统写本与小传统写本的互动中不断重构。“同冢”母题蕴藏着“死亡-重生”原型,该原型决定了“同冢”母题的核心结构:新娘祝英台在死亡后重生。作为交流体系中的基本要素,该结构跨越大传统与小传统的界限,在不同梁祝写本中流传。同时,“同冢”母题由围绕核心结构的无数变体构成,其重心从大传统写本中的“义妇冢”转为小传统写本中的“死后化生”,这一变化体现出大传统与小传统对“重生”的不同理解。

The motif of“being buried together”at the end of“Butterfly Lovers”is constantly reconstructed in the interaction between great tradition texts and little tradition texts.This motif contains the archetype of“death-rebirth”which determines its core structure:as a bride,Zhu Yingtai was reborn after her death;as a basic element in communication system,this structure crosses the boundary between great tradition and little tradition and circulates among different versions of“Butterfly Lovers”;at the same time,the“being buried together”motif is composed of countless variants surrounding the core structure and its focus shifts from“the tomb of a chaste and loyal woman”in great tradition to“rebirth as other creature after death”in little tradition.This shift reflects great tradition’s and little tradition’s different understandings of“rebirth”.