试论孔尚任“曲珠”说与《桃花扇》之中心意象结构法  

Preliminarily Talking about Kong Shangren's View of " the Pearl of Dramatic Songs qu " and the Method of Constructing the Central Ideographical Imagery in His Dramatic Romance The Fan of Peach Blossoms

作　　者：孙敏强[1] 

机构地区：[1]浙江大学中文系

出　　处：《文学遗产》2006年第5期106-112,共7页

摘　　要：孔尚任在《桃花扇传奇凡例》中提出“曲珠”说,揭示了他设置桃花扇这一中心意象,作为贯穿侯李悲欢离合和照映南明存亡兴衰之“珠”的创作心得。中心意象结构法,是他继承古代诗歌意象意境创造的艺术传统和“诗眼”之说提出来的叙事手段和结构方法。作为中心意象,桃花扇具有特殊的艺术效应与结构功能,它使整个作品的艺术结构和形象体系别开生面,呈现出鲜明的民族特色,成为“曲珠”说的成功范例和最好注脚。这是孔氏对中国叙事文学文论的创造性贡献,具有特殊的美学意义和理论价值。In the Preface to the Dramatic Romance The Fan of Peach blossoms (《桃花扇传奇凡例》), Kong Shangren (孔尚任) put forward his view of 'The pearl of dramatic songs qu' (“曲珠”说) , showing his creative mind of setting up the central ideographical imagery of the fan of peach blossoms as the 'pearl' penetrating through the romantic love of Mr.Hou and Lady Li and reflecting on the rise and fall of the Southern Ming Dynasty. The method of constructing the central ideographical imagery was the means come from the classic poetic and art traditions, especially the theory of so - called 'poetic eye' (“诗眼”) . It means with the construction method, which turned out a special art effect and a rarely constructive flavor, making the whole work alive with the image system of fresh and clear national features. The successful example of the dramatic practice of ' the pearl of dramatic songs qu' was Kong Shangren's unique contribution of aesthetic significance to the literary theory of Chinese literary narration.

关 键 词：《桃花扇》中心意象 结构 

分 类 号：I207.3[文学—中国文学]