清代章回小說中的「醜」形主角及其審醜藝術──以《斬鬼傳》的鍾馗、《醉菩提》的濟顛為主

Abstract

本論文擬探究清代章回小說中的醜形主角，以鍾馗與濟顛作為研究對象，希冀發掘「醜」在文學發展演變上中的重要性，並闡釋醜形主角在小說文本中的特殊效用及其藝術價值。有別以往的研究方式，在於本文試圖初步建構屬於中國文學與思想脈絡下的「醜」歷史，前者涉及怪物圖鑑、群鬼魅影與醜人相冊；後者則以儒家典範與莊禪典範作為中國思想的兩大根柢。透過歷史性的爬梳，使我們更加明瞭中國文學自古以來對於「醜」書寫的主要特色及其變化，進而建構屬於我們自己的醜學風貌。 在小說分析方面，分別揀選了清代康熙年間的兩部章回小說《斬鬼傳》與《醉菩提》。前者聚焦於「擬鬼」書寫，並將文本契合儺文化與假面藝術，以期解讀文本中的人格面具之淵源：以醜制醜，透過鍾馗的醜臉來制裁群鬼之「惡」以達於「善」，反映了儒家觀念「褒美貶醜」之道德化訴求，鍾馗的醜臉如同一種秩序化的懲惡力量，鍾馗的沿途斬鬼，正體現著儺儀趕鬼般的出行空間感。後者則聚焦於「顛」之變異，並將文本契合異僧傳統與狂禪思想，以期解讀文本中的酒癮狂、流浪漢之淵源：自曝其醜，透過濟顛外顯的醜容止來翻轉出對於內在自由精神的重視，反映著莊禪思想「醜中見美」之本真心靈，濟顛的容止如同一種非秩序化的遊戲態度，濟顛猶若孩童般隨走隨停隨玩，體現著出遊地景式的空間感。

This paper explores the ugly protagonist of traditional Chinese novel in the Qing Dynasty. Chung, K'uei and Chi, Tien are the subject of this discussion. We hope to reveal the importance of “ugliness” in the history of literature and expound special effects and artistic value about the ugly protagonist in the novel text. Different from the previous research, this paper attempts to construct the “ugly” history belonging to the Chinese literature and thought. The former involves the monsters, ghosts and ugly people. The latter regards Confucianism, Taoism and Zen as the two foundation in Chinese thought. By the way of historic arranging, we can understand the main features and variety about the writing of ugliness in the Chinese literature and make further efforts to establish our own style about the study of “ugly”. In the respect of analyzing novel, we choose two traditional Chinese novel in the Qing Dynasty: Chop Ghost and Drunk Bodhi. About Chop Ghost, we focus on the writing of making ghost's name and connect with the culture of exorcism and the art of mask in order to explaining the source of personality mask: through the ugliness to repress the ugliness, through the Chung, K'uei's ugly face to repress the immoral habits of the ghosts into the moral mind. In other words, Chop Ghost reflects the moral values of Confucianism. Chung, K'uei's ugly face is as an order of the power to repress immorality. He chops ghosts and inspects for a tour just like driving the ghosts away at the function of exorcism. About Drunk Bodhi, we focus on the inverting of dissimilation and connect with the tradition of anomalous monks and the thought of the self-conceited Zen in order to explaining the source of the tippler and vagrant: exposes oneself by showing the ugliness, through the Chi, Tien's ugly appearance and behaviour to invert the spirit of freedom. In other words, Drunk Bodhi reflects the true ego of the Taoism and Zen. Chi, Tien's ugly appearance and behaviour are a non-order of the play. He has his own way to take a walk, have a rest and play just like a child free from restraint in the town.