明清易代与话本小说的变迁

【作者】 朱海燕；

【导师】 石昌渝；

【作者基本信息】 中国社会科学院研究生院 ， 中国古代文学， 2002， 博士

【摘要】 本论文在观照明清易代历史的基础上，考察了清初话本小说的变迁，它对话本小说传统的继承、贡献与超越。小说家们在艺术表现方式上的突破，是因为话本小说固有的文体形式已经无法满足新的需要——反映波澜壮阔的时代和急剧动荡的社会政治生活的需要。清初话本小说文体形式的创新、表现手法的多样化和成熟，在很大程度上取决于社会生活的变迁，这才是形式变革的第一推动力。 鼎革之际的小说家们，藉小说对易代历史、对现实进行反思，他们不约而同地把反思的焦点集中于道德。《清夜钟》、《醉醒石》等都是一时的代表之作。道德视角与道德关怀成为清初小说的共同特点，也是小说家们完成其社会职志的具体表现。这与清初以“功过格”为代表的民众道德普及风潮基本同步。 论文以李渔为线索人物，通过有关李渔身世经历的个案研究，对明清易代的历史作了梗概式的交待，尽量烘托出清初小说家们生存的大环境及其写作的时代背景。同时，以李渔独具一格的生活道路为例，在清初士人群体分化的时代语境中，照察处于儒家传统经验与现实困境的夹缝中的士人，其生存之道的复杂、艰难和必然的狭窄。在此基础上，从易代史和小说史的角度，着重分析了李渔的话本小说的创新和变革，包括：小说中鲜明的个人标记、喜剧风格及其与自我形象之间的关系，其小说观念对道德的强调，基于道德和喜剧的双重考虑而设计的“道德喜剧”——它的基本形式、讲述方式与结构特点，对传奇、八股文等文体的借鉴，对话本小说文体形式的革新，小说语言方面的成就，以及在这些创新背后隐藏着的李渔的个人形象，等等。通过上述分析，揭示其小说独树一帜的风韵，及其在话本小说的发展历程中所起到的承前启后的关键作用。 李渔是清初对话本小说传统的文体形式进行变革的第一人，《十二楼》在结构形式方面的独到之处，预示着《豆棚闲话》中“豆棚”框架的出现。艾衲因为安全和表达深遥思想的需要，创造了话本小说史上独一无二的“豆棚”框架，它既增加了小说的叙述层次，丰富了作品的涵义，使某些不便明说的意义得以突显出来，同时由于框架故事的存在，加强了篇与篇之间的张力，很适于表现作者深刻而沉重的哲学思考。《豆棚闲话》的创造，极大地改变了由三言开创的话本小说的文体形式和传统的小说观念，显示了话本小说的形式在表现内容、主题方面一向被人忽视了的巨大潜力，对读者根深蒂固的阅读习惯也是一次强烈的挑战。在写什么和怎样写的问题上，艾袖开辟了前所未有的新天地，极大地拓宽了话本小说的文体边界。从《豆棚闲话》中，隐约可以看到中国现代小说破晓的曙光。 与明代的话本小说相比，清初进入了一个更加自觉的创作阶段，作家的主体意识与作品的个人风格都比明人突出。对明清之际历史的反省、对清初社会现实的关注，以及为适应此表达需要而对文体形式的诸多革新，使清初话本小说整体上呈现出显著的文人化倾向——作品的思想倾向、审美趣味和艺术风格等，无不体现出文人阶层特有的情趣、韵味和价值标准。文人化倾向并不妨碍作者贴近世俗社会、描写市井细民的喜怒哀乐，但是，作品的视角、风格、价值观和思想底蕴则是经过了“大传统”反复淘洗的文人的产物。从这个意义上说清初的话本小说是文人小说亦无不可。更多还原

【Abstract】 This is a study of the Chinese vernacular short story’s transformation during the early Qing dynasty (1644-1683), based on the research of Ming-Qing dynastic transition history. To some extent, the early Qing vernacular short story’s changes, its contribution to this genre are both connected with the revolutionary changes of its times. The writers broke through the traditional expression methods, because the traditional form cannot meet their expectations to present the turbulent period and its political, socioeconomic and cultural changes. The crisis in political and social order is a major impetus for the writers to conform to the new conditions.The witers who lived in the Ming-Qing transition period contemplated the dynastic transition history and the status quo through their works. Their contemplation focused on the morality. Qingye zhong and Zuixing shi are two representative collections of that times. As the early Qing vernacular short story’s common characteristics, the moral angle and concern manifested the writers’ social responsibilities. It was simultaneous with the reconstruction of the moral order in early Qing period, which was symbolized by ’gongguo ge’ (the ledgers of merit and demerit).As a key writer, Li Yii’s life and works reflected the tremendous change in almost all spheres of life in Ming-Qing transition China. His experiences help us understand the early Qing writers’ existing surroundings and their writings’ background. Meanwhile, in the Ming-Qing transition context, we compared Li Yii’s unique lifeway with that of his contemporary counterparts in order to discover the scholars’ survival way as soon as they encountered the dynastic transition dilemma. Sequently, we analysed the innovation of Li Yii’s short stories, including: its distinct individual marks, its comedic style and his self-image, his preference for morality, his ’moral comedy’ - its basic form, narrative method, structure specialities, the chuanqi (drama) and bagu wen’s influence, its formal reform, language success, etc.. Li Yii’s vernacular short story is not only unique, but a connecting link between the preceding and the following during the vernacular short story history.Li Yii changed the vernacular short story’s traditional form. His innovative attempt in Shier lou (Twelve Pavilion) foreshowed the superstructure ’dou peng’ in Doupeng xianhua. Ai Na created the exclusive superstructure to express his profound thought safely. The superstructure increased the narrative levels, revealed the hidden meanings, and reinforced the tensions among the stories. Ai Na’s creation modified the vernacular short story’s form and the traditional conceptions of the genre established by Sanyan. His innovation indicated that the vernacular short story’s form has great potential to express the theme and contents perfectly. Ai Na’s works challenged the readers’ obstinate reading custom, extended the vernacular short story’s scope as well. In fact, Doupeng xianhua foretold the dawn of Chinese modern fiction.Comparing with the vernacular short stories in the late Ming period, those in the early Qing entered a new phase - the writers’ individual consciousness and the works’ distinct style are quite apparent. The vernacular short stories in the early Qing times paid much attention to the dynastic transition history, the status quo and the formal innovation, which endowed themselves with the obvious literati’s value. It means that the works’ view, style, and aesthetic taste all belonged to the literati’s value system, even though the stuff-material and contents were all popular. To this extent, the vernacular short stories of the early Qing period can be regarded as literary works.更多还原