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色幻悟道與平等新生 : 溥緒《摩登伽女曲本》與泰戈爾《昌達爾姑娘歌舞劇》人物形象及主題寓意研究=Equal Rebirth and Enlightenment from Form & Vision : the Research on the Character Image and Theme Implication of Pu Xu's Tune "Matangi's Daughter" and Rabindranath Tagore's Musical Drama "Chandalika" |
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蘇美文 (著)=Su, Mei-wen (au.)
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| Source |
玄奘佛學研究=Hsuan Chuang Journal of Buddhism Studies
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| Volume | n.25 |
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| Date | 2016.03.01 |
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| Pages | 35 - 71 |
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| Publisher | 玄奘大學 |
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| Publisher Url |
http://ird.hcu.edu.tw/front/bin/home.phtml
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| Location | 新竹市, 臺灣 [Hsinchu shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者單位：中華科技大學通識教育中心副教授
佛教女性專輯 |
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| Keyword | 摩登伽女=Matangi's Daughter; 阿難=Ananda; 溥緒=Pu Xu; 泰戈爾=Rabindranath Tagore; 昌達爾姑娘=Chandalika |
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| Abstract | 摩登伽女的故事歷來都是漢傳佛教警戒男修行者遠離美色誘惑的典型，她也成為情慾魔女的象徵。民國16年溥緒（1882-1933）（清逸居士）創作《摩登伽女曲本》，由京劇名伶尚小雲於北京新明戲院演出，引起轟動。民國22年，這個印度來的故事被印度泰戈爾（1861-1941）創作成歌舞劇《昌達爾姑娘》，再改編為《昌達爾姑娘歌舞劇》搬上劇場公演，至今仍表演不輟。同時代的二個劇本都能移動傳統視角，正視摩登伽女自身，卸去僵化的魔女形象，但又各自呼應著自己的文化土壤與時代關懷，呈現不同主題寓意：一者關注她的情愛與修悟，以色幻悟道為精神；一者關注她的啟蒙與平等，以實踐平等新生為精神。
在溥緒筆下，摩登伽女具有端莊美麗，專情高潔的形象，有傳統文學的杜麗娘之傷春幽情、賈寶玉之色空悟道，又有《西遊記》魔考誘惑的情節。故事關注情愛與修悟，在情愛美色的貪執中，徹悟不淨與如幻，並輔以平等慈悲之懷。
而泰戈爾的歌舞劇，藉此抒發對印度種姓不平等制度的批判。他筆下的摩登伽女言語靈動，活潑熱情，從不平等的種姓思維中被啟蒙新生後，自我作主，勇敢追愛，這份蘊含『愛』的新生，歸向阿難與佛陀所象徵的平等慈悲，隱含泰戈爾『在愛中徹悟』的梵愛合一路徑。
就女性視角詮釋的二個路徑『情慾主動』、『速證果位』觀察，溥緒以專情高潔之主動來詮釋其『情慾主動』，並以消融情慾而得悟，雖然能呈現她因情而悟，但並無深刻描寫其『速證果位』。泰戈爾則完全沒有著墨『速證果位』，主力全在『情慾主動』上，這份主動來自平等的啟蒙，情慾化為自主勇敢去愛，與泰戈爾『梵愛合一』的宗教哲學呼應。
In Chinese Buddhism, the story of Matangi's daughter has been taken as a warning for male Buddhists to keep away from the temptation of lust, and Matangi's daughter has become a representative of femme fatale. In 1927, Pu Xu (1882-1933, art name Qing Yi Ju Shi) composed a tune of "Matangi's daughter", starred by Shang Xiao-Yun and caused a sensation in the Xinming Theater in Beijing. Then in 1933, this Indian story was written as a musical drama "Chandalika" by the respected Indian writer Rabindranath Tagore, and be readapted and played in theaters until now. These two scripts of the same era both change the point of view toward female by facing up to this character and getting rid of the stereotype as a femme fatale. What's more, they reflect to their own cultural soil and contemporary concern, and present two different theme implications: the former focuses on her love and enlightenment, taking enlightenment from form & vision as the essence; the later focuses on her illumination and equality, taking the practice of equal birth as the essence.
Under Pu Xu's pen, the image of Matangi's daughter is modest, beautiful, faithful and virtuous. The story contains compositions of traditional literature such as the spring sentiment of Du Li-niang, the enlightenment from form & emptiness of Jia Bao-yu, and the plot of demon's test like in the "Journey to the West". The concern is on love and enlightenment, to fully recognize illusion and reflections on repulsiveness in the desire of love and lust, and accompanied by equality and compassion.
Rabindranath Tagore's musical drama expresses the criticism for the unequal caste system in India. Through his pen, Matangi's daughter is quick-witted on words, active and passionate. Awakened from the unequal caste system, she decides for herself and pursuits her love bravely. The rebirth with love leads to the equality and compassion symbolized by Ananda and Buddha, and implies Rabindranath Tagore's idea of uniting Buddhist and love by "enlightenment in love".
The research observes these two paths "active on lust" and "quick attainment of arhathood" interpreted from female perspective. Pu Xu interprets "active on lust" as faithful and virtuous activity, and enlightenment comes after the melt of lust, therefore presenting her enlightenment through love but no further description on "quick attainment of arhathood". Rabindranath Tagore describes nothing of "quick attainment of arhathood" and focuses on "active on lust", therefore the activity comes from illumination of equality and lust becomes the love of independence and bravery, responding to his philosophy of religion "union of Buddhist and love". |
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| Table of contents | 摘要 35
Abstract 37
一、前言 39
二、溥緒《摩登伽女曲本》的人物形象與主題寓意 40
（一）溥緒《摩登伽女曲本》與尚小雲 40
（二）摩登伽女的『專情之愛』與『色空之悟』 43
1、從『宿為婬女』變為『專情高潔女子』 43
2、觀阿難美色不淨，摩登伽女觀色悟空 45
（三）阿難之平等慈悲與忽生愛念 47
（四）文殊劍與普賢醜，波斯匿王與末利夫人、行雨夫人 49
（五）摩登伽女與杜麗娘、賈寶玉 50
三、泰戈爾《昌達爾姑娘》、《昌達爾姑娘歌舞劇》的人物形象與主題寓意 53
（一）泰戈爾《昌達爾姑娘》及《昌達爾姑娘歌舞劇》 53
（二）摩登伽女因啟蒙而新生，在愛裏勇敢痴迷 55
1、召喚啟蒙：受平等的啟發，新生的開始 55
2、新生之自主：在愛裏渴望、勇氣與痴迷 58
3、承認失敗，祝愿聖潔的他勝利 60
（三）阿難與佛陀的使人高尚，永遠祝福 61
（四）泰戈爾的『新生意識』與『愛中徹悟』 63
四、結論：色幻悟道與平等新生 68
（一）主題寓意 68
（二）摩登伽女 68
（三）阿難 69
（四）女性視角的詮釋路徑 69
參考書目 70
一、藏經 70
二、專書 70
三、論文 71
四、網路資料 71 |
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| ISSN | 18133649 (P) |
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| Hits | 798 |
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| Created date | 2016.06.16 |
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| Modified date | 2022.05.27 |
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