超越與異化——《桃花扇》中李香君的藝術形象

Transcendence and Alienation: The Artistic Image of Li Xiangjun in The Peach Blossom Fan

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

清代孔尚任（1648—1718）的《桃花扇》是中國戲曲名篇之一，作為明清傳奇的最後傑作，歷來有關它的討論儘管不少，課題卻多集中在它的歷史素材所呈現的寫作意義上；如歷史事件的比附考述，劇中人物的歷史原型考訂，或通過作品探討歷史敎訓等，單純從文學角度展開的論述則少之又少，本文試圖探討劇中李香君藝術形象的深層意蘊，是希望藉此將《桃花扇》的研究主題自歷史、政治、傳記、性別及文化觀等外緣關懷回到文學的本身去，還它一個文學作品的本來面目。從文學角度看《桃花扇》一劇，劇中主要人物如侯方域、李香君和楊龍友等都是個性獨特的人，而三人中又以李的人物性格最鮮明，楊則表現為沉潛矛盾，侯雖是出場最多的生角，卻只是一般的正派與忠義，不見特別出眾。李香君的妓女形象充分展現了角色之塑造深度，及劇中人物內在性格發展的藝術功能。本文分別從超越與異化兩層次作論述。

The Peach Blossom Fan by Qing Dynasty author Kong Shangren (1648-1718) is a classic of Chinese drama. As the last masterpiece of Ming and Qing chuanchi, The Peach Blossom Fan has been widely discussed. While the topics mainly focus on the use of historical materials, such as the relevance to specific historical incidents, the historical archetypes of the characters or the historical lesson told by the story, the literary perspective is left glaringly unexamined. This paper investigates the significance of the artistic image of Li Xiangjun, trying to direct the critical attention from history, politics, biography, gender and cultural perspectives back to literature per se. Looking at The Peach Blossom Fan from a literary point of view, one will find that major characters like Hou Fangyu, Li Xiangjun and Yang Longyou are all having very special personalities. But among these characters Li is the most outstanding. Although Hou is the leading male character, he is just a typical righteous good man who has nothing special in terms of characterization. Yang's character embodies an internal paradox, but, in contract, he lacks the literary skill of in-depth characterization as shown in the prostitute image of Li Xiangjun. The character of Li can also exemplify the artistic function of the development of a character's internal personalities. This paper will analyze the characterization of Li Xiangjun with respect to the concepts of transcendence and alienation.