从角色化人物设置看李渔短篇小说的戏剧思维

From the Angle of Defining the Roles as in Drama to See the Dramatic Thought of LiYu's Short Stories

如果从人物设置的角度对《连城璧》、《十二楼》做细致考察,可以直观地发现这2部短篇小说集皆自觉借鉴了传奇的戏剧排场,并呈现出为新人耳目大胆“夺胎换骨”的基本态势,而这正是笠翁“化平常为新奇”的基本叙事策略:一方面,得心应手地袭用传奇固定的“生-旦”体例,在特定的虚拟空间展开曲折、紧凑的“才子佳人”们欢喜冤家式的情爱纠葛;另一方面,为了达到喜剧化叙事之价值目标,结合自己对于戏剧中“净”、“丑”调笑功能的深刻理解,有意设置颇为另类的人物关系演绎千奇百怪的“人间喜剧”,别出心裁地推出具有创新意味和启示性质的“丑(净)-旦(生)”或“净-丑”排场。

If making an analysis of Invaluable Jewel and Twelve Towers carefully from the angle of defining the characters, we may discover intuitively that the chuanqi＇ s theatrical ostentation had been used in these two collections of short story consciously and they appeared on the basic situation of being reborn audaciously. They are Li Weng＇ s basic narrative strategies for making people feel refreshing： On one hand, he had choiced the regular ＂sheng - dan＂ form in chuanqi skillfully to tell the love entanglements about the talented men and beautiful women like enemies and like lovers in the specific hypothesized space;On the other hand, Li Yu had described exceedingly strang human comedy by setting up an alternative relationship - ＂chou（jing）--dan （sheng） ＂ or ＂jing--chou＂ form on purpose in order to achieve the target of comedy narration.