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“二拍”在白话短篇小说史上的地位殊为独特 ,它是拟话本成熟定型的开始 ,而这一文体衰落的内因也在“二拍”中或明或暗地显现出来。冯梦龙在“三言”的编辑和整理过程中 ,对通俗故事的伦理意义、美学价值等的发现与提升做了极大的努力。凌初的“二拍”则是体现了文人趣味、价值观念与话本小说固有的民间色彩及非主流意识的冲突与融合的一种叙事模式。对小说意蕴的过度诠释乃至干涉 ,成为凌初统摄故事题材的手段 ,为此 ,他不惜用生硬的拼凑来牵合故事和人物的意义连接。在很多情况下 ,他会牺牲人物个性的生机、故事蕴含的丰富性 ,来保持其主题的一致性和对故事解读的权威性。他对小说主题的归纳不外宿命和因果报应等几个方面 ,有时这种概括很糟糕 ,极不恰当 ,使得主题的容量比故事本身要狭窄、肤浅得多。拟话本作者将这一文体始终定位为通俗读物 ,造成了“二拍”平庸的品格与面貌 ,也注定了拟话本的衰落命运。
The position of “Er Pai” in the history of vernacular short stories is unique. It is the beginning of the mature styling of the dialect. The internal cause of the decline of style is also revealed either explicitly or implicitly in “Er Pai”. Feng Menglong made great efforts in the process of editing and sorting out the “Three Characters” in the discovery and promotion of ethical significance, aesthetic value, etc. of popular stories. Ling Tauchu’s “Er Pai” is a kind of narrative mode which reflects the conflict and fusion between the literary taste, the values and the folk color and the non-mainstream consciousness of the novel in this novel. Exaggerated interpretations of the novel’s connotations, and even interference, became the means by which Ling reckoned to draw stories. For this reason, he did not hesitate to use a blunt patchwork to link the connection between the story and the meaning of the characters. In many cases, he sacrifices the vitality of individuality and the richness of the story to maintain the consistency of his theme and the authority to interpret the story. His generalization of the theme of the novel is nothing more than fate and karma, and sometimes this kind of summing up is terrible and extremely inappropriate, making the subject’s capacity narrower and superficial than the story itself. The author of this thesis always classifies this style as a popular reading, resulting in the mediocre character and appearance of the “two beats” and the fate of fading script.