複製與拒絕複製：《聊齋誌異》替身敘事之「自我」與「知音」意涵

Replication and Resistance: The Meaning of“Self”' and“Confidant”in the Substitute Narratives of Liao Zhai Zhi Yi

本文認為，湯顯祖《牡丹亭》以降，明清文學中的自畫像不僅是自我表達的工具，更反映了自我身分與存在的探索，《聊齋誌異》即以畫像、扮裝等替身敘事探討「自我」與「知音」的關係。〈宦娘〉中的箏譜與小像，既證明自我之存在，亦反映出愛情與認同的渴望；〈阿繡〉則透過皮相與神韻的差異，呈現形象與自我的張力；〈小翠〉挑戰了畫像作為替身的傳統認知，通過焚燒畫像的行為，象徵了解脫與新生。此外，〈青鳳〉與〈狐夢〉更進一步展現「自我」與「知音」實為一體兩面的存在，並與蒲松齡在〈聊齋自誌〉的自我形象相互呼應，顯示了《聊齋誌異》對傳統敘事母題的改造，以及文本內部相互對話的多重痕跡。

This study argues that, following Tang Xian Zu’s The Peony Pavilion, self-portraits in Ming and Qing literature were not merely forms of self-expression but also reflections on identity and existence. Liao Zhai Zhi Yi(Strange Tales from a Chinese Studio) employs surrogate narratives, through portraits and disguises, to explore the relationship between“self”and“confidant”. In the chapter of“Huan Niang”, the zither score and miniature portrait serve as proofs of existence and expressions of longing;“A Xiu”contrasts physical resemblance with spiritual affinity to probe appearance and essence;“Xiao Cui”portrays the destruction of a portrait as symbolic liberation and rebirth. While“Qing Feng”and“Hu Meng”suggest the“self”and the“confidant”are intertwined, echoing Pu Song Ling’s self-reflection in the preface. Collectively, these tales reconfigure classical narrative motifs and highlight the work’s rich intertextual structure.