血泊裏正家訓：論《水滸傳》及其三種續書中女禍／英雌書寫之反諷與承衍

Maintaining Family Instruction through Violence: The Irony and Inheritance of the Writing of Femme Fatales and Heroines in Water Margin and its Ming-Qing Sequels

Abstract

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

儘管《水滸傳》一般被視爲男性的文本，但實際上書中形形色色的女禍書寫，留給讀者的印象並不亞於好漢的血性。小説以魯、武二僧人爲經緯，穿插許多婦人的疊影，强化了“色空空色”的宗教辯證，英雄在温柔鄉中的道德虧損，暗示了色慾與權力同樣是歷劫修行的難題。《水滸傳》對於夫妻失倫的刻劃，在明清三種續書中仍舊引起創作者興趣。不過，“玉貌招殃”的敘事，在不同文本中卻有著不同的發展，顯示出相較於原作，“血泊裏正家訓”不是唯一的選項，“色戒”勸懲的對象也有所轉移。最後，從《水滸傳》到《蕩寇志》，出現了幾位繡閣英雄，“她”們馳騁戰場的倩影，是以性别／道德的邊緣位置往核心移動，同時掙扎於“蕩寇者”與“弒父者”的游移身分。

Although Water Margin is generally regarded as a book of masculinity, readers can also be impressed by the various female roles in it. While the novel focuses on the biographies of two monks, Lu Zhishen and Wu Song, the scenes featuring women strengthen the notion that beauty is superficial. Moreover, the book implies that heroes suffer from moral injuries caused by lust and power. The description of affairs with married women continues in the novel’s three sequels in the Ming-Qing dynasties. In a comparative study, we note in these later works that the motif of “beauty causing disaster” is no longer inevitable and that violence is not the key to maintaining house rules. From Water Margin to Sweeping the Rebels (Dang kou zhi), we observe that the heroines struggle with the identities of “rebel subduer” and “one who commits patricide” in their role’s shift from the edge of morality and gender to the center.