打开《西游记》研究的一个死角——再论道教文字“秘诀隐文”的特征和关于《西游记》最终定稿人阎希言之隐喻的破解

现在看,要破解《西游记》的最后定稿人,首先就要理解《西游记》中有关隐喻、隐语、暗示和口诀等修辞手法。在厘清有关隐喻、隐语、暗示和口诀等概念内涵和外延的前提下,从对历史上若干主要丹学家有关论述的扫描中,特别是从对＂茅山宗＂高道陶弘景的梳理中,说明道教特别是茅山道派文字最主要的艺术特征之一,就是在说明丹理和叙事时,喜用＂秘诀隐文＂修辞手法,因之,在寻找作为＂华阳洞天主人＂而与陶弘景存在地域道门精神关联的《西游记》最终定稿人时,首先注目其采用的＂秘诀隐文＂手法对其最终定稿人身份姓名的隐形显示,特别是在开头和结尾处的显示,就是符合其艺术特征的办法。＂五四＂以来,《西游记》最终定稿人研究搜寻之所以被导入歧路,也与包括胡适、鲁迅在内的一些研究者对道教文字＂隐文秘诀＂特征熟视无睹有关,其教训值得记取。

Breaking up the Dead Corner for the Study of Journey to the West

In order to get a better understanding of the last finalizer of Journey to the West,rhetorical devices such as metaphors,implications,hints and pithy formula in this novel should be fully understood.This paper clarifies some conceptional connotations and denotations,scans through the relevant accounts of alchemists,especially of the master Taoist Tao Hong-jing of Maoshan Sect,which shows that Taoism is one of the main prominent artistic features in Maoshan Sect.When making explanations,the rhetorical device of "pithy formula and metaphor" is preferred.Therefore,when looking for the relationship between the master of "the Fairyland of Huayang" and the finalizer of Journey to the West,the identity and name of the finalizer should be recognized by paying attention to the adoption of the rhetorical device of "pithy formula and metaphor",in particular,at the very beginning and ending since it conforms with its artistic feature.Since the May 4th Movement,the research about the last finalizer has been misguided,including some scholars such as HU Shi and LU Xun,who overlooked this writing feature,this lesson should be remembered.