“泪”世界的形成——徐枕亚小说创作研究

【作者】 潘盛；

【导师】 栾梅健；

【作者基本信息】 复旦大学 ， 中国现当代文学， 2009， 博士

【摘要】 民国初年，小说中最热门的类型开始从“谴责小说”向“言情小说”转变。这一时期言情小说的创作，又处处弥漫着“伤心惨目”的哀伤气氛，因此，“哀情小说”成为民初文坛的一股热潮，具有独特的思想艺术特征，又与当时的社会文化心理紧密结合。而徐枕亚作为“哀情小说”的代表性作家，创作了《玉梨魂》等一批在民初引起了极大反响的作品，成为民初文学史上不可忽略的角色。同时，在中西理念互相激荡、现代与传统不断纠结的特殊历史语境中，作家本身曲折的生活经历、持续而变动的编辑生涯以及、南社社员的特殊身份及其与同时期常熟籍作家的密切关系，都影响着他的创作并在作品中有所反映，而这些因素，又是民初那个众声喧哗的时代中，一个典型的传统型的“文人”作家与当时的“知识分子”作家以及后起的“通俗文学”作家所区别的重要特征。因此，研究徐枕亚的小说创作，可以探索其与同时代其他小说的区别与联系及其在近现代文学史上的意义。本论文以徐枕亚的小说特别是言情小说为主体，结合晚清民初文学文化的变化轨迹来进行研究。同时，通过大量文本细读，期待可以更好更全面地把握在新旧交替时代徐枕亚小说创作对传统的继承和新变。全文共分五章：第一章是徐枕亚的创作道路及其背景。主要介绍徐枕亚创作的社会文化背景、徐枕亚的生平及其性格特色。首先论述对徐枕亚创作有重要影响的三大社会文化背景：民初的社会文化思潮、江南的文化特征和旧文人的愁怨传统，其次，介绍与徐枕亚关系密切的流派和社团有常熟作家群、南社文人团体、早期鸳鸯蝴蝶派，徐枕亚的这一交游网络赋予了他集传统文人、新思想的吸收者、职业报人、职业作家等于一身的复杂的文化身份，影响了他的文学创作。徐枕亚的生平和创作可以分为四个时期：青少年时期、无锡执教时期、民权报时期、创作高峰期、创作衰落期。最后在时代背景下揭示徐枕亚才美、情苦、多愁的性格的来源和表现。第二章是徐枕亚的小说理论。首先介绍徐枕亚的小说理论：徐枕亚强调小说中“情”的作用，尤其偏好于纯精神的“哀情”氛围；同时他又要求“情”与“理”的统一，以期强调小说的社会作用与审美功能的统一；他强调作家性格遭遇与文风的统一，重视感性空间的描写，以期反拨晚清小说的社会化倾向；在现代报刊市场的商业化大潮的影响下，他也十分重视对读者心理的把握。通过辨析徐枕亚小说理论，可以从中窥探到“通俗”外衣下隐藏着的“雅文学”面目，从而探讨其与鸳鸯蝴蝶派后期消闲娱乐观之间的联系和差别。第三章是徐枕亚小说的叙事特色。主要从叙事结构、叙事视角、叙事语言三个方面，分析徐枕亚的小说叙事所显示出新旧杂糅的特征。在叙事结构上，一方面有传统的闲笔、客观叙事、才子佳人模式的复制，另一方面也有书信日记体和倒叙手法的采用这些具有现代特征的特点。在叙事视角上，体现了全知和限制两种视角的穿插，以及小说从古代“说话”的“说书人—听众”模式向现代报刊兴起后的“作者—读者”模式的转变。在叙事语言方面，主要是对骈文这一传统文类的重视，体现了在白话文成为小说语言主流之前，纷繁多样的中国小说创作语言探索的一种可能性。第四章是徐枕亚小说的文化意蕴。首先徐枕亚的小说以哀情题材为主，在小说意象上，建构了一个充满悲情的“泪世界”。其次，徐枕亚以言情为题材，实际上对“启蒙”和“革命”两大主题，都作了一定程度的延伸，尤其是《玉梨魂》和《雪鸿泪史》两部作品，开创了“革命加恋爱”小说模式的先河。结语论述徐枕亚小说对传统的继承和新变。相对于偏重叙事的传统小说，徐枕亚小说显示出抒情性成分加强、着重个人体验表现的特点。这种重视个体世界的建构的小说创作模式，和晚清以梁启超为代表的“启蒙民智”为立场的新小说以及以《海上花列传》以及后期鸳鸯蝴蝶派创作为代表的注重文学中日常空间表现的小说一起，开创了现代小说三种现代性的可能。更多还原

【Abstract】 In the early years of the Republican China,the most popular genre of novelsstarted changing from“the novel of denouncement”to the“the novel of sentiments”.During this period,there was extensively a sad atmosphere which was“heart-breakingand eyes-saddening”in the love tales.Therefore,“novel of sad sentiments”became afashion in the literary circle in the early Republican years.The style displayed uniquecharacteristics in thoughts and artistic form,and it was also closely related to thesocial and cultural mentality at that time.As a typical writer of“sentimental novel”,Xu Zhenya wrote a series of novels such as Yu Li Hun (Jade Pear Spirit) whicharoused strong response,and played an important role in the Chinese literary historyof early Republican time.At the same time,Xu’s works were influenced by themutual impact of Chinese and Western ideas,the special historical context of theentanglement between rnodemity and tradition,the complicated life events of theauthor himself,the continuous yet changing life as an editor,the special status as amember of Nanshe (the Southern Society) and the author’s close relationship with hiscontemporary writers who were also bom in Changshu.All these elements werereflected in Xu’s works.In the polyphonic time of early Republican years,suchelements characterized a typical traditional“literati”writer and made him distinctfrom his contemporary“intelligentsia”writers and the next generation of“popularliterature”writers.Therefore,with study on the writing fashion of Xu Zhenya’s novels,it is to explore the distinction and relation between Xu’s works and theircontemporary novels and Xu’s significance in the literary history of early-modem andmodem China.The thesis studies Xu Zhenya’s novels,and mainly the“novels of sentiments”,and relates them with the changing trends of culture and literature in late-Qing andearly Republican periods.Meanwhile,through extensive close reading of texts,it is tograsp,in a better and more comprehensive way,how Xu’s novel followed tradition and make innovations in a time of transition from the old into the new.The thesis consists of six chapters:The first chapter describes Xu Zhenya’s track as a writer.It mainly accounts ofXu Zhenya’s life and the literary schools and societies to which he belonged.Xu’sZhenya’s life and writing can be divided into four periods,the adolescence,the timewhen he taught in Wuxi,the time when he worked for Minquanbao (the Newspapersfor People’s Rights),the peak period of his writing,and the decline period.Theschools and societies which were closely related to Xu include the group of Changshuwriters,the group of Nanshe (the Southem Society) literati,and the early-time Schoolof Mandarin Ducks and Butterflies.The social networks of Xu Zhenya gave him acomplicated cultural identity which combined a member of traditional literati,aleamer of new thoughts,a professional newspapers editor and a professional writer.This identity influenced his output of literature.Chapter Two investigates the social cultural background and Xu Zhenya’spersonality characteristics.Firstly,it points out the three kinds of social culturalbackground which had important influence on Xu’s writing,the social cultural trendsof thoughts in early Republican period,the cultural features of Jiangnan (region southof the Yangtze River) and the old-fashioned literati’s tradition of moaning sorrows andgrievances.Secondly,in light of the historical background,it reveals the origins andexpression of Xu Zhenya’s witty but bitter-mood,sorrowful character,.Chapter Three explores Xu Zhenya’s theory of novel writing.It begins withthe introduction to Xu’s theory.In his theory,Xu emphasized the function of“sentiments”in novels,especially preferred the“sad sentimental”atmosphere ofspiritual purity.He also commented that“sentiments”and“rationality”should beconsistent,so that the social effect and aesthetic function can be unified.He assertedthat the character and life experience of an author will be fully reflected in his writingstyle.He placed importance on portrayal of realm of sensibility,in order to refute thetendency of over-emphasis on social effect in the late-Qing novels.Influenced bycommercialization in the market of modern newspapers and magazines,he also paidmuch attention to readers’ mentality.With analysis of Xu Zhenya’s theory of novels,it is to discover the real face of“refined artistic literature”disguised by the“popular”mask,and accordingly explore Xu’s connection to and difference from the notion of“literature as leisure and entertainment”advocated by the later School of MandarinDucks and Butterflies.Chapter Four analyses the characteristics of narration of Xu Zhenya’s novels.In the aspects of narrative structure,narrative viewpoints and narrative language,XuZhenya’s novel narration demonstrated the blend of old-fashioned and newcharacteristics.On narrative structure,while he copied the traditional casual-noting,objective narration and“gentlemen and fair ladies”format,he also adopted themodem format of letters,diaries and flashbacks.On narrative point of views,thenovels used alternately omniscient and limited viewpoints,and changed from the“story-teller to audience”mode in classical“Shuohua”(telling tales) into the“authorto reader”mode after the rise of modem newspapers and magazines.On narrativelanguage,Xu highly regarded the traditional genre“pianwen”(the prose of couplets)and manifested a possible way in the varied explorations about written language ofnovel writing before baihua (plain language) became the mainstream language usedin novels.Chapter Five explains the cultural implications of Xu Zhenya’s novels.Firstly,Xu Zhenya’s novels mainly focused on the subject matter of sad sentiments,and inthe aspect of imagery,constructed a“world of tears”which was full of sorrow.Secondly,Xu Zhenya’s choice of sentimental love stories as subject matter actuallyelaborated the two big themes,“enlightenment”and“revolution”in a certain way.Especially,Yu Li Hun (Jade Pear Spirit) and Xue Hong Lei Shi (the Tearful History ofSnowy Wild Goose) broke new ground of the novels of“revolutionary and love”.Chapter Six illustrates how Xu Zhenya’s novels inherited and transformedtradition.As compared to the traditional novels which focused on narration,XuZhenya’s novel made more effort to express feelings and explore personal experience.This approach of novel writing which placed importance on construction of asubjective world,began a way to establish modernity in modem Chinese novels,along with the new novels which aimed at“enlightening the intelligence of people”in late Qing,represented by Liang Qichao;and the novels which focused on reflectingdaily life,represented by Hai Shang Hua Lie Zhuan (A Biography of the Flower onthe Sea) and the later School of Mandarin Ducks and Butterflies.更多还原