唐佩璇

2021年初，重慶市公布第一批115個(gè)歷史地名保護(hù)名錄，“巫山”榜上有名。

地名，在一定程度上是一個(gè)地方承載歷史印記的社會(huì)化石，是一個(gè)地方最為重要的文化形態(tài)和載體。而“巫山”所寄托的，是千百年來對(duì)“神女”的無限遐思。

相傳，巫山神女名瑤姬，是南方天帝赤帝的女兒，還未嫁人就去世了，葬在巫山。

巫山神女的文獻(xiàn)形象最早見于《山海經(jīng)·中山經(jīng)·中經(jīng)七經(jīng)》。遙遠(yuǎn)的原始自然崇拜心理，在歷代文學(xué)作品中得到映現(xiàn)，從而為我們塑造了巫山神女這一獨(dú)具魅力的文學(xué)形象。

作為溝通上天和人間的媒介，神女被反復(fù)再塑造，歷代文人賦予了她嫵媚多情、搖曳生姿、熱烈奔放的人格魅力特征，宋玉《高唐賦》和《神女賦》為后世的巫山詩(shī)提供了經(jīng)久不息的母題靈感和抒情材料。

隨著儒家思想在中國(guó)古代社會(huì)逐漸占據(jù)主導(dǎo)地位，巫山神女在中國(guó)神話與宗教體系中的地位逐漸下降，原始宗教意味和巫術(shù)神秘色彩隨之減弱，“兩賦”中不食人間煙火的“神女”轉(zhuǎn)化為唐詩(shī)里與世俗女性并無二致的“凡女”。

這些唐詩(shī)，從不同的角度豐富了巫山神女形象。

一類是詩(shī)人親歷現(xiàn)場(chǎng)，在途徑巴山渝水時(shí)，因巫山巫峽蕭瑟凄厲、陰寒冷寂的自然環(huán)境有感而發(fā)。詩(shī)人對(duì)于古老神女傳說的遙遠(yuǎn)回想，遂對(duì)其進(jìn)行仿若約定俗成般的共同致敬書寫和臆想描繪，種種經(jīng)典意象跨越時(shí)間長(zhǎng)河在詩(shī)人腦中浮現(xiàn)：重述被雨打濕的山腰、翻卷的煙霧、低密而蔽目的積云、啼叫的山猿、凄厲的寒風(fēng)……

大部分詩(shī)人在舊有的典故中尋找巫山神女的倩影，營(yíng)造出云霧繚繞、縹緲朦朧的巫山風(fēng)光。其中不乏新穎奇特、富有原創(chuàng)性的作品。

比如孟郊的《巫山高》，描寫巫山十二峰時(shí)并沒有如宋玉般同楚王漫步在高唐，而是想象楚王狩獵時(shí)恰逢黃昏時(shí)分微雨，夜來幽夢(mèng)同神女相會(huì)。“輕紅流煙濕艷姿，行云飛去明星稀?！钡§F沾濕了她艷麗的身姿，飄忽一瞬間她又消失不見，蹤跡難覓?！澳繕O魂斷望不見，猿鳴三聲淚沾衣?！蓖塾┎坏媒Y(jié)果，此時(shí)猿鳴凄清哀絕更是喚起無限悲涼。

另一類唐詩(shī)的寫作場(chǎng)域并不在巫山，比如李白的《清平調(diào)》。詩(shī)人將楊玉環(huán)的美貌描繪得淋漓盡致，把一切輕靈曼妙的意象賦予她：“云想衣裳花想容，春風(fēng)拂檻露華濃。若非群玉山頭見，會(huì)向瑤臺(tái)月下逢。一枝紅艷露凝香，云雨巫山枉斷腸?！?/p>

群玉山和瑤臺(tái)本是神話傳說中西王母的住所，而“云雨巫山”則是神女的象征，李白將楊貴妃同西王母、巫山神女對(duì)舉，與其說是為了抬高楊玉環(huán)的地位，毋寧說李白已在內(nèi)心將巫山神女從至高至尊之位除名。

現(xiàn)實(shí)世界中，與神女這一文學(xué)形象呼應(yīng)的，無疑是巫峽十二峰中最俏麗的神女峰。

走過如今的神女天路，再乘索道天梯，美景盡收眼底。行舟神女溪上，不禁遙想長(zhǎng)衫佩劍的李白，兩岸猿聲，輕舟飛過。

夜幕低垂，月影漸明。窗外，容顏姣好、身姿曼妙的巫山神女逐漸清晰可見。

Wushan Mountain was listed in the first batch of 115 protected historical place names issued by the Chongqing government in early 2021.

To a certain extent， place names have been served as social marks that bear local historical imprints and as essential local cultural forms and carriers. In particular， Wushan Mountain is named to honor the endless reverie about the Goddess for thousands of years.

According to legend， the Wushan goddess was named Yao Ji， the daughter of the Red Emperor， also known as South Deity. She died before being married and was buried in Wushan Mountain.

Her documentary can be dated back to the Classic of Mountains and Seas·Classic of the Mountains： Central·Seven Classics of Central. The remote primitive worship of nature has been mirrored in Chinese literary works through ages， which have shaped up the unique literary image of the Wushan Goddess.

The Goddess， a medium bridging the heaven and the earth， has been repeatedly reshaped but shared her charming， passionate， warm and open personality with perfect posture. In particular， Gaotangfu or Rhapsody on the Gaotang Shrine and Shennvfu， both of which were written by Song Yu， offer sustained original inspiration and lyrical materials for later poems about Wushan Mountain.

However， as Confucianism gradually ascended to the dominator in ancient Chinese society， the status of the Wushan Goddess gradually declined in the Chinese mythology and religious system， so did her primitive religious meaning and the mystery of witchcraft. She had been transferred from a fairy to someone who was described by poems of the Tang Dynasty like mortal women.

These poems enriched her image from diversified perspectives.

The first one goes to the feeling inspired by the local bleak， cold and quiet natural environment when the poet experienced Wushan Mountain and Wu Gorge in the area of Bashan Mountain and Yushui River. With the recall of the ancient goddess’ legend， the poet couldn’t help honoring her and surmising the scene when the legend happened， which seems as if a conventionalized practice. During the period， all kinds of classical scenes traveled over time and got projected in the poet’s mind， empowering him to restate the mountainside wet by the rain， the tumbling smoke， the hovering thick cumulus clouds， the howling mountain apes， and the shrill cold wind...

Most poets strove to search the shadow of the Wushan goddess in the ancient allusions， an effort to create a misty and hazy scenery of Wushan Mountain. Among their literary works， some are quite creative， peculiar， and original.

For example， Meng Jiao’s Wushan Gao depicts the twelve peaks of Wushan through a scene of King Chu’s dream of meeting the Goddess when he hunted in a drizzling day at dusk， which is quite different from Chu’s ramble in Gaotang， a sight illustrated by Song Yu.

Another division of poems of the Tang Dynasty about the mountain didn’t highlight it， such as a Song of Pure Happiness written by Li Bai. The poet described Yang Yuhuan’s beauty incisively and vividly with all light and graceful images： "Her robe is a cloud， her face a flower； Her balcony， glimmering with the bright spring dew. Is either the tip of earth’s Jade Mountain Or a moon- edged roof of paradise. There’s a perfume stealing moist from a shaft of red blossom； And a mist， through the heart， from the magical Hill of Wu."

Wherein， Qunyu Mountain and Yaotai were legendarily the residences of Queen Mother of the West while the magical Wushan was a symbol of the Goddess. In the poem， Li compared Lady Yang to Queen Mother of the West and the Goddess. The comparison tend to remove the Goddess’s supreme position rather than raise Yang’s status.

In the real world， the literary image of the Goddess has been inspired by the Shennv Peak， the prettiest among the twelve peaks in Wuxia without a doubt.

The peak can be reached through a rope way and a sky ladder after Goddess Heaven Road. It commands a magnificent view of the mountain. On the Xingzhou Goddess River， I can’t help recalling the scene that Li Bai wearing a long gown and sword， and taking a canoe to travel through waves with apes howling on both shores.

The night fell upon the earth and the shadow of the moon gradually became clear. Outside the window， the Wushan Goddess with a good face and graceful posture gradually became clear.