从“穿插”到“互文”——《聊斋志异》对“以诗词入小说”叙事传统的开拓  

From“Interspersion”to“Intertextuality”——An Exploration of Narrative Tradition of“Poetry in Novel”in Strange Stories from a Chinese Studio

作　　者：方弘毅[1] FANG Hongyi(School of Art,Southeast University,Nanjing,Jiangsu,211189,China)

机构地区：[1]东南大学艺术学院,江苏南京211189

出　　处：《江苏第二师范学院学报》2020年第5期45-50,124,共7页Journal of Jiangsu Second Normal University

基　　金：教育部哲学社会科学研究重大课题攻关项目“中华艺术精神在当代艺术实践中的传承发展研究”(项目编号:16JZD030)。

摘　　要：在《聊斋》以前,中国古典短篇小说就有在散文化的叙述中穿插诗词韵语辅助、补充或推进叙事,完善人物形象的深厚传统。《聊斋》在汉魏六朝小说、唐传奇、宋元话本三大历史形态逐步发展成熟的小说叙事与诗词韵语穿插模式的关系程式基础上,进一步丰富艺术创造,以灵活多样的“脱化”笔法,巧妙地将诗词与小说叙事熔于一炉。一改以往小说与诗词间机械的穿插,将小说的叙事性与诗词的抒情性互相打通,借此把作者自身的精神取向蕴含于小说人物塑造之中。《聊斋》真正打破了诗、稗两种文体分进的传统程式,极大提高了作品的艺术水准。Chinese classical short stories before Strange Stories from a Chinese Studio had a profound tradition of interspersing poetry and rhymes with narrationin order to assist,supplement or advance narratives and to perfect the image of characters. On the basis of relationship between gradually mature novel narratives and poetry-interspersed patterns in the three historical forms,i.e.,Novels of the Han-Wei and Six Dynasties periods,Legends of the Tang Dynasty and Script of the Song and Yuan Dynasties,Strange Stories from a Chinese Studio further enriched artistic creation and skillfully integrated poetry and novel narration with flexible and diverse"renovation"skills.Thus,it changed the mechanical interspersion novels with poetry in the past,and combined the narrative of novels with the lyricism of poetry,thereby embedding the author’s own spiritual orientation in the shaping of the characters. Strange Stories from a Chinese Studio really broke the traditional pattern of the two styles of poetry and bai( books of anecdote and trifles),and greatly improved the artistic level of the work.

关 键 词：《聊斋》 诗词 小说 开拓 

分 类 号：I207.41[文学—中国文学]