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在印度《罗摩衍那》成书之前我国已经有猿猴能言、慧辨、善变的志怪文学,到《罗摩衍那》定型成书的汉魏时期,猿猴志怪说法已经臻于大全。唐代已经大量创作猿猴变人的志怪小说,但多数是“盗女”及祸害性内容。却也有积极性的开拓,由此飞跃而升华,成为孙悟空的正面而丰富多彩的形象渊源。而帮助玄奘出国境的“候者”正是孙悟空的原型历史人物。猿猴志怪文学的主要艺术方法是借助谐音,达到指鹿为马的违反事理而谐趣怪异的艺术效果。孙悟空形象与整个《西游记》正是继承了这个方法。孙悟空是中国文学土生土长的形象。哈奴曼影响“八证”说不能成立。
Before the book of Ramayana in India, there was already a monster-like literature of ape in speaking and resolving and frivolous in our country. When we arrived at the Han and Wei dynasties in which “Ramayana” was stereotyped, the theory of apes and monsters has reached the limit. The Tang Dynasty has produced a large number of ghost monsters changing people’s strange novels, but most are “stealing” and the scourge of content. But also a pioneering enthusiasm, which leaps and sublimation, Sun Wukong become a positive and colorful image of the source. And to help Xuan Zang out of the country “Waiter ” is the prototype of the historical figures of the Monkey King. The main artistic method of apes-monster literature is to use the homophonic sound to achieve the weird artistic effect of violating the theory of deer-horse. Monkey King image and the entire “Journey to the West” is inherited this method. Monkey King is a native Chinese image of the image. Hanuman influence “Eight cards ” said can not be established.