任何小说(文学)叙事都是民族文化心理和文人心态的反映,李渔小说鲜明的叙事模式主要具有以下特征:“因果叙事”的结构框架,“大团圆”的结构方式,以及强烈的叙事干预和对故事的操纵等叙事策略。李渔的这种叙事模式的成因,大抵有四:首先,是史传文学对李渔小说叙事模式的影响;李渔对历史文化的接受表现在相反相成的两个方面,一方面是对历史文学重大事件真实性的消解,另一方面,是对史传叙事中议论和叙事人称的认同,其小说中大量的议论笔墨显示出史学意识对作家的渗透和影响。其次,李渔的短篇小说多采用第三人称的叙述方式,也和源远流长的史学叙事在总体上所采取的全知全能的叙述视角有着同样的心理认同与主体态势。这种全知的视角,正与以说教为旨归的拟话本小说创作心态相契合,同时也是李渔身上优越的文人地位的潜意识的体现。复次,李渔的小说叙事也深受说话、戏曲、园林等艺术及观念的影响。这种影响,直接表现为李渔叙事模式中那种空间化的叙事结构趋向,使小说的形象构成呈现于共时态的不同空间环境之中,从而使小说的空间布局突破了线性的简单发展脉络,而出现了更为多重的网式结构,这在传统小说的发展史上,是极为重要的理论转向。尤其是在叙述体式上,它的多层次叙事拉开了作家与叙事人的距离,造成叙事角色的变化,对于近现代叙事文学体制生成有着重要的引发与启示意义。仅就这一点而言,李渔在小说发展史上的地位也是毋庸置疑的。 Any novel (literary) narration is a reflection of national cultural psychology and literati mentality. The distinct narrative pattern of Li Yu’s novel mainly has the following characteristics: the structural framework of “causal narrative”, the structure of “happy reunion”, and the strong Narrative strategies such as narrative intervention and story manipulation. The origin of this narrative model of Li Yu is roughly fourfold: firstly, it is the influence of historical literature on the narrative model of Li Yu’s novels; Li Yu’s acceptance of historical culture is in two opposite aspects, on the one hand, On the other hand, it is the recognition of the argumentative and narrative personalities in the narratives of historical stories. The great amount of discussion and writing in the novel shows the infiltration and influence of the historical consciousness on the writers. Secondly, Li Yu’s short stories often adopt the third-person narrative style and share the same psychological identity and subject trend with the omniscient and omnipotent narrative perspective taken by the historical narratives that have a long history. This omniscient perspective is coinciding with the creation mentality of quasi-taboo novels aimed at preaching, and it is also the subconscious embodiment of Li Yu’s superior status as a literary man. In the second episode, Li Yu’s fictional narration is also influenced by the art and concept of speaking, opera and garden. This kind of influence is directly manifested as the spatial narrative structure trend in Li Yu’s narrative mode, which makes the image composition of the novel appear in the different space environment of the general tense state, so that the spatial layout of the novel breaks through the linear and simple development vein , And the emergence of a more multiple network structure, which in the history of the development of traditional novels, is an extremely important theoretical turn. Especially in narrative style, its multi-level narration opens the distance between writer and narrator, and causes the change of narrative role. It has important implications and inspiration for the generation of modern narrative literary system. Only in this regard, Li Yu’s position in the history of the novel is no doubt.