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清代李汝珍所撰的《镜花缘》是一部集历史、神魔、讽刺、游记色彩于一身的长篇章回体小说。其内容大致可划分为三个维度,一为百花仙子托身的唐闺臣及群芳因过被贬入红尘,她们在凡间成长相会,并于天朝女科应试中高中才女,后尘缘期满相接离去;二为唐闺臣之父唐敖科举受阻,无意功名,随林、多等人出游海外,游历三十多国后入小蓬莱修道不还;三为众才女之夫为推翻武后,复兴唐王朝而展开政治抗争。而这三部分内容的共通之处,即都体现主人翁受难—历劫—回归这一过程。其起承转合、因果循环,常常蕴含着一种注定的、不可违逆的孔子天命观念。①
“Flowers in the Mirror” written by Li Ruzhen in the Qing Dynasty is a long chapter novels that combine history, demon, satire and travel notes. Its content can be broadly divided into three dimensions, one for the flowers fairy prop up Don boudoir and Qunfang had been relegated to the Red, they met in the mortal world, Tang Ao, the father of the Tang dictator was blocked, no intention of fame, with the forest, and more people travel abroad, travel more than thirty countries into the small Penglai monastic not yet; After the military, reviving the Tang Dynasty and political protest. What these three parts have in common is that they all reflect the masters’ experience of suffering - a calamity and a return to this process. It plays a pivotal role, and the causal cycle often contains a doomed, unyielding concept of Confucius’s destiny. ①