摘要
晚清长篇小说的艺术结构问题一直是学术界争议颇多的问题。有的认为“无结构;”有的认为结构精美;而创作者梁启超在《新中国未来记.序》中又谦逊地说“结构之必凌乱”。同样的小说,在结构的评价上分歧如此之大在小说批评史上还是罕见的。如果我们把晚清长篇小说与报刊媒体联系起来,把其放在报刊这个桌面上,学者们的分歧也许会小的多。残缺不全的晚清长篇小说在结构上采取“穿株式”、“游记体”、“组合式”有其独特的时代特征,但很难说已到了匠心独运、妙不可言的程度。
The artistic structure of the novel in late Qing dynasty is a controversial issue in the academic field. Some scholars said that there is ＂no artistic structure＂; some believe that the structure is quite delicate and beautiful while the author Hang Qichao remarked modestly in his works The Future of New China · Foreword that ＂the structure must be in mess＂. It is rare to have such a discrepancy on the structure of the same novel in the history of novel critics. If the novels in late Qing dynasty can be compared with the articles in the newspaper, maybe there will be less disagreement among scholars. The structure of ＂column-and-tie style＂ ＂travelogue style modular style＂ of the novel has its own unique characteristics, but it is difficult to say that it has reached the highest level.
