闻声识人:“声口”与明清小说伦理脸谱的构建

Listening to Sound and Identifying People:“Sheng kou”and the Construction of Ethical Face in Novels of Ming and Qing Dynasties

“声口”是明清小说评点中常见的范畴,用于“闻声识人”——透视小说人物的性格及品质、揭示或构建人物脸谱。其中类型化的伦理脸谱较个性化的性格脸谱更受关注,也更具代表性。就源流与谱系而言,“声口”源于明代市井话语,经明代通俗小说引入文学创作,又滋以明清诗话的雅化与案头化,最终奠定了“闻声识人”的先决条件,并形成了“身份+声口”的基本表达范式。在功能与形态上,“声口”以伦理干预为意图,以揭示或类比人物身份为主要形式。针对不同题材及叙事模式,伦理脸谱的构建形态呈现出显、隐的差异。在美学本质上,“声口”展现了古代小说的伦理取向及相应策略,投射出古代文论话语求诸感官经验的主观性、形象性特质。

“Sheng kou”is a common category in the commentary of novels in the Ming and Qing Dynasties.It is used to“listen to sound and identify people”—to perspective the character and quality of the characters in the novels,and to reveal or construct the facial makeup of the characters.Among them,typed ethical facial masks are more concerned and representative than personalized personality facial masks.As far as the origin and pedigree are concerned,“Sheng kou”originated from the folk dialogue in the Ming Dynasty.After the introduction of popular novels in the Ming Dynasty into literary creation,.it became elegant and written in the poetry criticism of the Ming and Qing Dynasties,and finally laid the prerequisite for“listening to the voice to identify people”,and formed the basic expression pattern of“identity and voice mouth”.In terms of function and form,“Sheng kou”takes ethical intervention as its intention,revealing or comparing the identity of characters as its main form,and for different themes and narrative modes,the construction form of ethical face shows obvious and obscure differences.In aesthetic essence,“Sheng kou”shows the ethical.orientation and corresponding strategies of ancient novels,and reflects the subjectivity and image characteristics of ancient literary criticism that depend on sensory experience.