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作 者:刘骏勃 Liu Junbo
机构地区:[1]北京师范大学古籍与传统文化研究院
出 处:《华文文学》2023年第3期42-50,共9页Literatures in Chinese
摘 要:作为港台新派武侠小说的开山鼻祖与一代宗师,梁羽生异于其他武侠作家的一个标志性特征就是他对古典回目的偏好。在他的全部小说作品中使用古典回目的占绝大多数。这些回目不仅覆盖了他的整个创作历程,并且随着创作的发展在各阶段表现出不同的形式与特点。最初是字数不等的混合回目,其后是九言对句,最终在长达22年的时间里稳定采用了七言对句的形式。这种偏好源于梁羽生对古典诗词的始终挚爱与深厚素养,同时也受到民国以来通俗小说回目的重要影响。在继承前人回目特点的基础上,梁羽生在其小说中创造性地改变了传统七言古典回目前三后四的句式,并且更加疏离直白叙事,使回目呈现出典型的诗句化特点,这是梁羽生对古典回目体制的重要贡献,显示出清末以来雅文学对小说回目影响的进一步加深,也在一定程度上对当前各种文体中借用诗句为题目的做法有潜移默化之皴染。As a pioneer and the grandmaster of new martial arts fiction in Hong Kong and Taiwan,Liang Yusheng is signally different from other martial arts writers in that he is fond of the classic chapter headings.Of his oeuvre,the majority of his works have made use of the classic chapter headings as they not only cover his entire career but show various forms and characteristics on various stages of his development,beginning with the mixed ones of an uneven number of characters,through nine-character couplets,until,over a long period of twenty-two years,they were stabilized in the form of seven-character couplets.This preference stems from Liang's constant love for,and deep accomplishments in,classic Chinese poetry or ci,and is also a result of the important influence from the chapter headings of pop fiction since the founding of the Republic of China.On the basis of his inheritance from the characteristics of the chapter headings of his predecessors,Liang,in his fiction,creatively changed the pattern of sentences of three characters followed by four characters of the traditional classicalseven-character chapter headings,in a way that distances direct narration even more so that the headings are typically poetic,which is Liang’s important contribution to the classical chapter headings,demonstrating the furthering of the influence on the chapter headings of fiction by the elegant literature since the end of the Qing dynasty and,to a certain degree,a subtle impact on the use of lines of poetry as titles in writings of various genres.
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