《宝迪莫日根汗》与《封神演义》母题异同考

A Comparative Study of Motifs in the Classical Chinese Novel Fengshen Yanyi and the Mongolian Huurin-Uliger Bodi Mergen Khan

通过对蒙古国乌·罗布桑胡尔奇说唱的《宝迪莫日根汗》与我国明朝许仲琳著的《封神演义》(蒙译本)的母题进行比较,乌·罗布桑胡尔奇基于说唱作品的流通、接受考量而进行的母题改编与再创作有迹可循。在《宝迪莫日根汗》的母题征引过程中,乌·罗布桑胡尔奇极其关照听众即审美主体的情感经验,在所引母题中又融入了蒙古民族特有的人文关怀。从《封神演义》到《宝迪莫日根汗》,乌·罗布桑胡尔奇不仅完成了一次文学“在地化”的创造,同时也是一次母题跨境交融的告竣。

By comparing the motif of Bodi Morgen Khan sang by Mongolian huurchi U.Lobsang with the Mongolian translation of the classical Chinese novel Fengshen Yanyi(Creation of the Gods),the paper traced the motif variation in the Huurin-Uliger Bodi Mergen Khan sang by U.Lobsang,which is mainly due to the con-sideration of the circulation and acceptance of the performance by the audience.In the process of borrowing mo-tif from Fengshen Yanyi while performing Bodi Mergen Khan,huurchi U.Lobsang gives much consideration to the audience’acceptance,and integrated unique humanistic aspects of Mongolians into the cited motif.From Fengshen Yanyi to Bodi Mergen Khan,huurchi U.Lobsang accomplished not only a local creation of literary work,but also a cross-border blending of motifs.