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作 者:胡丹蕾 黄擎[1] HU Dan-lei;HUANG Qing(School of Literature,Zhejiang University,Hangzhou 310058,China)
出 处:《兰州大学学报(社会科学版)》2023年第2期152-160,共9页Journal of Lanzhou University(Social Sciences)
摘 要:刘勰《文心雕龙》中的《隐秀》篇是全书唯一残篇,其中蕴含的文艺思想引起学界广泛关注。寓言作为《庄子》文章的一大特色,内容极为丰富,却历来被作为文学史边缘学科,历代文论家也不曾对其展开专题论说。从哲学基础看,道家之“道”与“自然”及衍生出的辩证思想、“言意之辨”为刘勰提供了养料。从意蕴层面看,“隐”为“隐秀”与“寓言思维”相通处,“秀”为刘勰的理论与庄子的寓言实践共有的创作特点。从艺术风格看,以“自然”为基生发出的素朴与华丽,二者异中有同。对刘勰《隐秀》篇文艺观与庄子寓言思维内涵的互通性作比较阐释,是对刘勰“道心”隐微的开掘,也是打开残篇“隐秀”文学创作理想和庄子寓言文艺思想研究的一次新尝试。The"Implicitness and Salience"(Yin and Xiu)chapter in Liu Xie's The Literary Mind and the Carving of Dragons is the only missed chapter in the entire book,and its literary and artistic ideas have drawn extensive attention from the academic community.Fables are a prominent feature of the articles in Zhuangzi rich in content.However,they have always been regarded as a peripheral discipline in literary history,and previous literary theorists have yet to undertake specialized discussions on them.From a philosophical perspective,the Taoist concept of"Tao",""nature",and the derived dialectical thinking,as well as the distinction between"speech"and"meaning",provide nourishment for Liu Xie's ideas.In terms of the connotation,"implicitness"represents a common aspect shared by"implicitness and salience"and"allegorical thinking".In contrast,""salience"represents the common creative characteristics of Liu Xie's theory and Zhuangzi's allegorical practice.The simplicity and grandeur derived from"nature"share similarities despite their differences regarding artistic style.Comparing and interpreting Liu Xie's artistic perspective in the"Implicitness and Salience"chapter with Zhuangzi's allegorical thinking is not only an exploration of Liu Xie's subtle understanding of the"Tao Xin"(the heart of the Tao)but also an attempt to open up new angles of creative literary ideals in the remaining chapter"Implicitness and Salience"and the study of Zhuangzi's allegorical literaryideas.
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