以「權力」與「欲望」為論述中心──試論《金瓶梅》前八十回到後二十回敘事中心的視角轉移

Centering on ''Power'' and ''Desire''──On the Transfer of Narrative Perspectives from the First Eighty Chapters to the Last Twenty Chapters of Jin Ping Mei

《金瓶梅》是一部文人小說，作者有意識地讓小說人物互為參照、呼應、對比。全書的前八十回的男性是以西門慶為敘述中心，後二十回西門慶死後，男性以陳經濟，女性則以龐春梅為敘事中心，陳經濟見證了西門府的快速衰敗，他走出家庭走向市井。並以張二官作為繼起的，未來無數可能的西門慶之一為。同時，前八十回寫西門慶與連同一妻五妾在內的諸多女人的生活，是男性以權力財富交換他渴望的欲望與權勢。到了後二十回，依然是談家庭興衰，卻是以女性為欲望中心：從龐春梅看西門府的興衰，兼看周守備的榮盛與死亡；並從葛翠屏的角度再次確認，作為正室必須是大器，或者沈默面對其他妾室；通過以「愛」為名的韓愛姐，看到《金瓶梅》在重利寫欲之餘仍有救贖的可能，仍有一道從欲望裡提升的微光。

Jin Ping Mei is a literary novel, the author consciously let the characters of the novels refer to each other. The first eighty chapters of the book are Ximen Qing as the narrative center, and the last twenty chapters are the Pang Chunmei as the narrative center. Chen witnessed the rapid decline of the Ximen family, and he walked out of the family to the society. The first eighty chapters wrote about Ximen Qing,his wife and five concubines, and the lives of many women. Men exchange sex with power and wealth. The last twenty chapters, with the female desire as the writing center. Pang Chunmei represents the power of Ximen Qing and the desire of Pan Jinlian. Through Han Ai-Jie, in the name of ''Love'', I can see that there is still the possibility of redemption in ''Jin Ping Mei'', and there is still a glimmer from the desire.