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題 名 | 由「入於文心」至「諧於里耳」--唐代小說在《三言》、《二拍》中的敘述面貌論析=From “Touching the Literary Mind” to “Agreeing with the Common Ear”--Tang Dynasty Stories in the Sanyan and Erpai |
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作 者 | 康韻梅; | 書刊名 | 臺大中文學報 |
卷 期 | 21 2004.12[民93.12] |
頁 次 | 頁85-89+91-140 |
分類號 | 827.2 |
關鍵詞 | 唐代小說; 話本小說; 三言; 二拍; 敘述; Tang dynasty fiction; Huaben ficition; Sanyan; Erpai; Narrative; |
語 文 | 中文(Chinese) |
中文摘要 | 本論文嘗試針對白話短篇小說的代表作──《三言》 、 《二拍》中的唐代小說的敘述面貌作一探析,以作為文言小說和白話小說兩種小說文類如何移轉,以及移轉後形式和意義改變的範例,以期能清楚地掌握它們各自的敘事修辭與體裁特色。首先探討《三言》 、 《二拍》如何向唐代小說取材的問題,包括了來源和方式,並根據前人的研究成果,重新釐定《三言》 、 《二拍》採錄唐代小說的篇目,分別就正話和入話論析引用的情況。其次則根據《三言》 、 《二拍》承襲自說話的體製和編撰者自覺的小說美學,分就情節的場景化、因果化,人物、背景的具體化,讀者的參與化,和主題的宗教道德化、世俗化,分析比較唐代小說在《三言》 、 《二拍》中的敘述面貌,和此敘述面貌所建構的意涵,清楚地展現了以「入於文心」為撰作目的的唐代小說,進入訴求能夠「諧於里耳」的《三言》 、 《二拍》之中的改變。而《三言》 、 《二拍》中唐代小說的敘述面貌與原作的差異,顯示了話本小說重視情節的鋪陳,善於運用形式寫實主義的技巧刻劃人物、背景,和喜歡設定群眾角色,使故事充滿了戲劇性,而引人入勝,對於現實世界的模擬,也較唐代小說細緻和深刻;又虛擬敘述者與敘述接受者的對話形式,固可助益讀者對故事的投入,但卻拖沓了敘述的流暢;至於情節因果化和主題的普遍性訴求,共同完成故事的教化意義,卻也抹煞了個人獨特經驗的呈現,並壓縮了故事引人尋思的空間。 |
英文摘要 | This paper will look at the narrative form of stories from the Tang dynasty that appear in the vernacular masterpieces Sanyan 三言 and Erpai 兩拍in order to examine the transition in fiction from the literary to the vernacular language and the changes in form and mean-ing brought about by that transition. In doing so, we will identify the narrative, rhetorical and formal characteristics of Chinese fiction in the literary and vernacular languages. We will start by discussing how material was taken for the Sanyan and Erpai from Tang Dynasty stories including the sources and methods used, and will clarify, on the basis of earlier studies, which stories from the Tang dynasty were used and discuss how they were used in both the opening introduce-tions and main bodies of the vernacular versions. Next, we look at the Sanyan and Erpai in terms of the format borrowed from the earlier tradition of oral readings and the author's own aesthetic sense to compare the narrative form and the correlating construction of mean-ing of the Tang dynasty stories with those in the Sanyan and Erpai with respect to the settings and causal relations of the stories, the concreteness of characters and background, the involvement of the reader, and the religious/moral or conventional tone of the theme. We clearly show the changes that the Tang dynasty stories. with their orientation towards "touching the literary mind" 入於文心 , undergo as they are adapted to meet the need of "agreeing with the common ear" 諧於里耳of the Sanyan and Erpai. The differences in the narrative of the original Tang dynasty stories and the versions in the Sanyan and Erpai reflect features of the huaben 話本 such as an emphasis on flesh-ing out the details of a story, using formalistic techniques to describe characters and backgrounds, and the fondness for creating the character of a faceless crowd, All these features help to increase the comic features of the story and heighten enjoyment of the work, as well as the more detailed and comprehensive account of the real world vis-à-vis stories of the Tang dynasty. However, the interplay between a fictional narrator and the audience, while allowing the reader to become more invested in the story, also slows down the pace of the narrative; in the same manner, strengthening the causal relations of a story and allowing for a more widespread thematic appeal, while enhancing the instructional elements of a story, also eclipses the expression of the individual's experience and leaves little room for the story to work on the imagination of the reader. |
本系統中英文摘要資訊取自各篇刊載內容。