重论《金瓶梅》成书方式“过渡说”

On Transitional Theory of Chin Ping-mei's Completion

20多年前笔者就提出,《金瓶梅》是从艺人集体创作向文人独立创作发展的过渡形态的作品的观点。2010年在《周钧韬金瓶梅研究文集》出版时,将此观点概括为《金瓶梅》成书方式"过渡说"。此文又对"过渡说"进行哲学思考,用"扬弃"这一概念研究古代长篇小说发展的三个阶段,提出《金瓶梅》是一部从艺人集体创作(《水浒传》)向"无所依傍的独立的文人创作"(《红楼梦》)发展的"有所依傍的非独立的文人创作"。"过渡形态"乃是《金瓶梅》成书方式的本质特征。这是笔者对《金瓶梅》成书方式"过渡说"的最新阐述。

20 years ago, the author proposed that Chin Pingmei was a transitional work from collective creation by artists to literati＇s independent creation. In 2010 when A Collection of Research Papers on Chin Pingmei by Zhou Jun-tao was published, the author generalized this view as the transitional theory. In this paper, the author has given such theory another philosophical thinking, studied the three development phases of ancient novels with the concept of ＂inheritance and sublation＂, and proposed that Chin Ping-mei is the transitional work from the collective creation of artists （e. g. Outlaws of the Marsh ） to the creation （e. g. Dreams of Red Mansions ）of independent literati. ＂Transition＂ is the primary feature of Chin Pingrnei, which is the latest interpretation of transitional theory by the author concerning the formation of the novel.