隐而不退的叙述者——从叙事视角的转换看汤显祖戏剧的改编艺术

A Narrator Who Goes but Never Lives in Seclusion An approach to Tang Xianzu's art of drama adaption from the change of visual angle of narration

“临川四梦”直接或间接地取材于唐代小说。汤显祖在改编唐人小说之际,对其叙事视角也加以改造。相比之下,唐代相关小说《霍小玉传》《枕中记》《南柯太守传》《离魂记》显示了丰富多样的视角操作艺术,并以多视角叙事为主,汤显祖则根据戏剧舞台演出的需要,在叙事视角上通过八种手段将叙述者隐身于戏剧人物之中,使戏剧中的许多人物具有了显在的叙事功能,这种替身的叙事在本质上是一种全知叙事,由此可以窥见汤显祖戏剧叙事艺术之一斑。

The Four Masterworks by Tang Xianzu drew materials from the novels of the Tang Dynasty. Tang Xianzu readjusted the visual angle of narration while adapting the novels of the Tang Dynsaty. By comparison, the related novels of the Tang Dynasty, such as Huo Xiaoyu, In the Pillow,Prefecture Chief Nanke and A Gone Soul, displayed various arts of visual angle operating, using multi - visual - angle narration as main method. However, Tang Xianzu, in the light of the need of dramatic performance on the stage, used eight means in the aspect of visual angle in narration and made the narrator invisible behind the dramatic characters, thus making many characters in his dramas possess an obvious narrative function. Such a stand-in narrtion belongs to an omniscient one in nature,from which we can get a hint of Tang Xianzu＇s art of dramatic narration.