《聊斋志异》与道教神仙信仰论析
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摘要
道教，作为中国唯一土生土长的宗教，它对我国封建社会各个时代的政治、经济、学术、思想、宗教信仰、文学艺术、科技以及民风民俗等多方面，都有着重要的影响。《聊斋志异》这部百科全书式的著作，道教文化在其中也有很多体现。本文选择了《聊斋志异》与道教文化的核心——道教神仙信仰这一视角作了阐述。
一、《聊斋志异》思想内容与道教神仙信仰
《聊斋志异》的思想内容是丰富多彩的，其中的道教神仙题材就是重要的组成部分。它虽然不是主要部分，但确是不可忽视的重要内容。对《聊斋志异》中的道教神仙题材内容及其与《聊斋志异》关系，本文从三个方面展开论述：一是道教神仙题材，二是道教方术与法术，三是道教仙境题材。对每种题材的具体内容和思想，本文作了解释，并对其对《聊斋志异》的影响作了详细阐释。
二、《聊斋志异》艺术成就与道教神仙信仰
《聊斋志异》的艺术成就体现在多个方面，成因也是多方面的，其中不可忽视的一个方面是道教神仙信仰对《聊斋志异》的积极作用。本文对《聊斋志异》的艺术成就和道教神仙信仰的关系，从三个方面进行阐释：一是《聊斋志异》的创作方法与道教神仙信仰，二是《聊斋志异》的形象创造与道教神仙信仰，三是《聊斋志异》的环境描写与道教神仙信仰。通过这三方面的论述，阐明了道教神仙信仰与《聊斋志异》艺术成就之间的关系。
三、《聊斋志异》与道教神仙信仰
道教神仙信仰为蒲松龄表达自己的创作思想提供了可能和基础。在《聊斋志异》里，有很多表现蒲松龄惩恶扬善和歌颂美好爱情的作品，而蒲松龄在小说中借助道教神仙信仰，表达出了这种愿望。
从道教的神仙信仰思想来看，也恰合乎蒲松龄的创作意旨。道教以神仙
世界为信仰，以得道成仙为人生目标，但不是不关心现世和人生问题，而恰
恰是对人生的关注和重视。道教所宣扬的要行善积德、乐善好施、与人为善
以及因果报应思想等，都起到了教化和警醒世人的作用，也使得道教神仙信
仰有了更多的亲和性，也与人的道德修养联系起来。《聊斋志异》所描写的神
仙信仰的特点也体现了这一点。本文也从三个方面进行了论述:一是《聊斋
志异》与道教、道家，二是道教神仙信仰与文学，三是《聊斋志异》与道教
神仙信仰。
Taoism, the only native religion in China,is of great influence on the Chinese feudal society of different ages in many aspects.The culture of Taoism has found much exporession in Strange Tales from a Lonely Studio. This thesis makes an exposition from the perspective of Strange Tales from a Lonely Studio and the Taoist belief in immortals,which is the center of the culture of Taoism. I . The ideology and content of Strange Tales from a Lonely Studio and the Taoist belief in immortals.
As to the relationship between Strange Tales from a Lonely Studio and the Taoist Belief in immortals,we can discuss it from three aspects:the theme on Taoist immortals,Taoist medical arts and magic arts,and the theme on Taoist fairyland.
Strange Tales from a Lonely Studio involves many Taoist immortals more or less,The Taoist immortals in Strange Tales from a Lonely Studio can be divided into six categories:gods of heaven,gods of the land,gods of ghosts, gods of humankind,gods of Hades, immortals and True men.
The abundant expression of Taoist medical arts and magic arts is an important factor for the marked Taoist colour in Strange Tales from a Lonely Studio. Strange Tales from a Lonely Studio shows many Taoist magic arts,e.g.the magic figure,the incantation, and calculating on one's fingers as well as the use of some magic instruments.The magic arts can do good to the people,while it can also be harmful of doing evil by the use of the magic arts.
The heaven abodes by Taoism are mainly famous mountains on the earth,and they offer an excellent environment for the asceticism.There is a bit of depiction of Taoist fairyland in Strange Tales from a Lonely Studio and such depiction contributes to its artistic charm and appeal.
II. Tartistic achievement of Strange Tales from a Lonely Studio and the Taoist belief in immortals.
About the relationship between the artistic achievement of Strange Tales from a Lonely Studio and the Taoist belief in immortals, I want to elaborate it in three aspects.
1. The creative methods and Taoist belief in immortals:
One source of romanticism is the belivef in Taoist immortals and thinking modes reflected in the novel.In the Strange Tales from a Lonely Studio, romanticism can be seen here and there,by which Pu Songling accomplishes his creative gist and purpose.
2. The creation of images and Taoist belief in in immortals:
Among the figures created in the Strange Tales from a Lonely Studio, we can find a lot of Taoist images.Those Taoist immortals are vividly described and quite different from each other in appearance and character, thus becoming a unique part of the rich and colorful figures in the novel.These figures can be classified into two kinds: the gods of heaven, and Taoist immortals and Ture Man attaining the magic arts.
3. The description of surroundings and Taoist belief in immortals:
Some of the surrounding depictions in the Strange Tales from a Lonely Studio directly depicts the Taoism fairyland, while many of them are not about Taoism fairyland but the tranquil, picturesque senery like wonderland, from which we can find Pu Songling has profound artistic creative ability.
III. Strange Tales from a Lonely Studio and Taoist belief in immortals: 1. Strange Tales from a lonely studio and Taoism.
In Strange Tales from a Lonely Studio, there're many tales showing his ideals for punishing evil-doers and encouraging people to do good, and the author also sings the beartiful love. Through Taoism belief Pu Sonlgling expresses his kind wishes in his novel. Taoist, as the medium of Pu Songling and Taoism
contributes to the familiar and close relationship between Pu Songling and Taoism.
2. Taoist belief in immortals and literature
Taoism's religious philosophy, belief in immortals and so on exert a great influence on literature creation. This belief advocates that human beings can become immortals who can live forever and have vast magic powers. Obviously Taoist belief in immortals is the most reflected in literature and the most fomiliar, plpular one in pelple
一、《聊斋志异》思想内容与道教神仙信仰
《聊斋志异》的思想内容是丰富多彩的，其中的道教神仙题材就是重要的组成部分。它虽然不是主要部分，但确是不可忽视的重要内容。对《聊斋志异》中的道教神仙题材内容及其与《聊斋志异》关系，本文从三个方面展开论述：一是道教神仙题材，二是道教方术与法术，三是道教仙境题材。对每种题材的具体内容和思想，本文作了解释，并对其对《聊斋志异》的影响作了详细阐释。
二、《聊斋志异》艺术成就与道教神仙信仰
《聊斋志异》的艺术成就体现在多个方面，成因也是多方面的，其中不可忽视的一个方面是道教神仙信仰对《聊斋志异》的积极作用。本文对《聊斋志异》的艺术成就和道教神仙信仰的关系，从三个方面进行阐释：一是《聊斋志异》的创作方法与道教神仙信仰，二是《聊斋志异》的形象创造与道教神仙信仰，三是《聊斋志异》的环境描写与道教神仙信仰。通过这三方面的论述，阐明了道教神仙信仰与《聊斋志异》艺术成就之间的关系。
三、《聊斋志异》与道教神仙信仰
道教神仙信仰为蒲松龄表达自己的创作思想提供了可能和基础。在《聊斋志异》里，有很多表现蒲松龄惩恶扬善和歌颂美好爱情的作品，而蒲松龄在小说中借助道教神仙信仰，表达出了这种愿望。
从道教的神仙信仰思想来看，也恰合乎蒲松龄的创作意旨。道教以神仙
世界为信仰，以得道成仙为人生目标，但不是不关心现世和人生问题，而恰
恰是对人生的关注和重视。道教所宣扬的要行善积德、乐善好施、与人为善
以及因果报应思想等，都起到了教化和警醒世人的作用，也使得道教神仙信
仰有了更多的亲和性，也与人的道德修养联系起来。《聊斋志异》所描写的神
仙信仰的特点也体现了这一点。本文也从三个方面进行了论述:一是《聊斋
志异》与道教、道家，二是道教神仙信仰与文学，三是《聊斋志异》与道教
神仙信仰。
Taoism, the only native religion in China,is of great influence on the Chinese feudal society of different ages in many aspects.The culture of Taoism has found much exporession in Strange Tales from a Lonely Studio. This thesis makes an exposition from the perspective of Strange Tales from a Lonely Studio and the Taoist belief in immortals,which is the center of the culture of Taoism. I . The ideology and content of Strange Tales from a Lonely Studio and the Taoist belief in immortals.
As to the relationship between Strange Tales from a Lonely Studio and the Taoist Belief in immortals,we can discuss it from three aspects:the theme on Taoist immortals,Taoist medical arts and magic arts,and the theme on Taoist fairyland.
Strange Tales from a Lonely Studio involves many Taoist immortals more or less,The Taoist immortals in Strange Tales from a Lonely Studio can be divided into six categories:gods of heaven,gods of the land,gods of ghosts, gods of humankind,gods of Hades, immortals and True men.
The abundant expression of Taoist medical arts and magic arts is an important factor for the marked Taoist colour in Strange Tales from a Lonely Studio. Strange Tales from a Lonely Studio shows many Taoist magic arts,e.g.the magic figure,the incantation, and calculating on one's fingers as well as the use of some magic instruments.The magic arts can do good to the people,while it can also be harmful of doing evil by the use of the magic arts.
The heaven abodes by Taoism are mainly famous mountains on the earth,and they offer an excellent environment for the asceticism.There is a bit of depiction of Taoist fairyland in Strange Tales from a Lonely Studio and such depiction contributes to its artistic charm and appeal.
II. Tartistic achievement of Strange Tales from a Lonely Studio and the Taoist belief in immortals.
About the relationship between the artistic achievement of Strange Tales from a Lonely Studio and the Taoist belief in immortals, I want to elaborate it in three aspects.
1. The creative methods and Taoist belief in immortals:
One source of romanticism is the belivef in Taoist immortals and thinking modes reflected in the novel.In the Strange Tales from a Lonely Studio, romanticism can be seen here and there,by which Pu Songling accomplishes his creative gist and purpose.
2. The creation of images and Taoist belief in in immortals:
Among the figures created in the Strange Tales from a Lonely Studio, we can find a lot of Taoist images.Those Taoist immortals are vividly described and quite different from each other in appearance and character, thus becoming a unique part of the rich and colorful figures in the novel.These figures can be classified into two kinds: the gods of heaven, and Taoist immortals and Ture Man attaining the magic arts.
3. The description of surroundings and Taoist belief in immortals:
Some of the surrounding depictions in the Strange Tales from a Lonely Studio directly depicts the Taoism fairyland, while many of them are not about Taoism fairyland but the tranquil, picturesque senery like wonderland, from which we can find Pu Songling has profound artistic creative ability.
III. Strange Tales from a Lonely Studio and Taoist belief in immortals: 1. Strange Tales from a lonely studio and Taoism.
In Strange Tales from a Lonely Studio, there're many tales showing his ideals for punishing evil-doers and encouraging people to do good, and the author also sings the beartiful love. Through Taoism belief Pu Sonlgling expresses his kind wishes in his novel. Taoist, as the medium of Pu Songling and Taoism
contributes to the familiar and close relationship between Pu Songling and Taoism.
2. Taoist belief in immortals and literature
Taoism's religious philosophy, belief in immortals and so on exert a great influence on literature creation. This belief advocates that human beings can become immortals who can live forever and have vast magic powers. Obviously Taoist belief in immortals is the most reflected in literature and the most fomiliar, plpular one in pelple
引文
[1] 周先慎．《聊斋志异》：继承与总结[J]．文史知识，1995，(7)．
[2] 张永政，盛伟．聊斋学研究论集[C]．北京：中国文联出版社，2001．
[3] 中国社科院世界宗教研究所道教室．道教文化面面观[M]．济南：齐鲁书社，1990．
[4] 鲁迅．致许寿裳信(1918年8月20日)[A]．鲁迅全集：第九卷[M]．北京：人民文学出版社，1981．
[5] 詹石窗．道教文学史[M]．上海：上海文艺出版社，1992．
[6] 吴九成．《聊斋志异》与道教[J]．蒲松龄研究，1995，(3、4)．
[7] 葛洪．抱朴子·内篇[M]．长春：吉林人民出版社，1999．
[8] 礼记·王制[M]．长春：吉林人民出版社，1999．
[9] 刘熙．释名(卷二)[A]．清刻本．
[10] 葛洪．神仙传·彭祖传[M]．影印四库全书本第1059册．
[11] 庄子．庄子·大宗师[M]．长春：吉林人民出版社，1999．
[12] 王常月．龙门心法(卷一)[M]．崂山白云洞石印本，1931．
[13] 刘仲宇．道教法朴[M]．上海：上海文化出版社，2002．
[14] 司马迁．史记(第一册)[M]．北京：中华书局，1959．
[15] 班固．汉书(第四册)[M]．北京：中华书局，1962．
[16] 云笈七签(卷二七)[M]．影印文渊阁四库全书本第1060册．
[17] 朱越利，陈敏．道教学[M]．北京：当代世界出版社，2000．
[18] 曾慥．类说序[A]．文学古籍刊行社影印明天启刻本，1955．
[19] 鲁迅．中国小说史略[M]．上海：东方出版社，1996．
[20] 干宝．《搜神记》序[A]．清光绪元年湖北崇文书局刻本．
[21] 福斯特．小说面面观[M]．天津：花城出版社，1984．
[22] 游国恩．中国文学史(第四册)[M]．上海：上海古籍出版社，1985．
[23] 盛伟．蒲松龄全集(第二册)[M]．上海：学林出版社，1998．
[24] 庄子．庄子·天下[M]．长春：吉林人民出版社，1999．
[25] 高珩．聊斋志异序[A]．上海人民出版社影印本，1974．
[26] 蒲松龄．聊斋自志[A]．上海人民出版社影印本，1974．
[27] 盛伟．蒲松龄全集(第一册)[M]．上海：学林出版社，1998．
[1] 老子．道德经[M]．合肥：安徽人民出版社，1990．
[2] 庄子．庄子[M]．上海：上海古籍出版社，1989．
[3] 许慎．说文解字[M]．北京：中华书局，1963．
[4] 葛洪．抱朴子[M]．上海：上海书店，1986．
[5] 刘向．说苑[M]．民国上海涵芬楼铅印本．
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[7] 干宝．搜神记[M]．沈阳：辽宁教育出版社，1997．
[8] 司马迁．史记[M]．北京：中华书局，1959．
[9] 班固．汉书[M]．北京：中华书局，1962．
[10] 张立文等．玄境：道学与中国文化[M]．北京：人民出版社，1996．
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[29] 孔令宏．中国道教史话[M]．保定：河北大学出版社，1999．
[30] 马瑞芳．聊斋志异创作论[M]．济南：山东大学出版社，1990．
[31] 蒲松龄．铸雪斋抄本聊斋志异[M]．上海：上海古籍出版社，1979．
[32] 葛兆光．想象力的世界：道教与唐代文学[M]．北京：现代出版社，1990．
[2] 张永政，盛伟．聊斋学研究论集[C]．北京：中国文联出版社，2001．
[3] 中国社科院世界宗教研究所道教室．道教文化面面观[M]．济南：齐鲁书社，1990．
[4] 鲁迅．致许寿裳信(1918年8月20日)[A]．鲁迅全集：第九卷[M]．北京：人民文学出版社，1981．
[5] 詹石窗．道教文学史[M]．上海：上海文艺出版社，1992．
[6] 吴九成．《聊斋志异》与道教[J]．蒲松龄研究，1995，(3、4)．
[7] 葛洪．抱朴子·内篇[M]．长春：吉林人民出版社，1999．
[8] 礼记·王制[M]．长春：吉林人民出版社，1999．
[9] 刘熙．释名(卷二)[A]．清刻本．
[10] 葛洪．神仙传·彭祖传[M]．影印四库全书本第1059册．
[11] 庄子．庄子·大宗师[M]．长春：吉林人民出版社，1999．
[12] 王常月．龙门心法(卷一)[M]．崂山白云洞石印本，1931．
[13] 刘仲宇．道教法朴[M]．上海：上海文化出版社，2002．
[14] 司马迁．史记(第一册)[M]．北京：中华书局，1959．
[15] 班固．汉书(第四册)[M]．北京：中华书局，1962．
[16] 云笈七签(卷二七)[M]．影印文渊阁四库全书本第1060册．
[17] 朱越利，陈敏．道教学[M]．北京：当代世界出版社，2000．
[18] 曾慥．类说序[A]．文学古籍刊行社影印明天启刻本，1955．
[19] 鲁迅．中国小说史略[M]．上海：东方出版社，1996．
[20] 干宝．《搜神记》序[A]．清光绪元年湖北崇文书局刻本．
[21] 福斯特．小说面面观[M]．天津：花城出版社，1984．
[22] 游国恩．中国文学史(第四册)[M]．上海：上海古籍出版社，1985．
[23] 盛伟．蒲松龄全集(第二册)[M]．上海：学林出版社，1998．
[24] 庄子．庄子·天下[M]．长春：吉林人民出版社，1999．
[25] 高珩．聊斋志异序[A]．上海人民出版社影印本，1974．
[26] 蒲松龄．聊斋自志[A]．上海人民出版社影印本，1974．
[27] 盛伟．蒲松龄全集(第一册)[M]．上海：学林出版社，1998．
[1] 老子．道德经[M]．合肥：安徽人民出版社，1990．
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