中国古代小说批评中的“跨界取譬”传统鸟瞰

Overview of Tradition of“Example across Discipline” in Ancient Chinese Novels Critique

在中国古代小说批评中,人们常常跨界性地攀附或援引史传、古文、绘画与戏剧等诸文类的专门性术语,以裨补难以自足言说的缺憾,从而形成"拟于史传"、"拟于古文"、"拟于绘画"、"拟于戏剧"等"跨界取譬"的修辞批评传统。这种批评传统既针对叙事文本,也针对写人文本。针对写人文本的各种批评术语又常常围绕两个关键词形成会通:一是小说与绘画、古文、戏剧等诸文体所共享的"代言"理论,二是凸显传统小说人物角色表演特征的"态"这一重要范畴。这种传统小说批评既有利于评论者便捷地阐释与评批小说文本,又有益于读者准确地理解并把握小说较之绘画等其他文类在叙事、写人方面的文体优势,还便于当今研究者据此顺藤摸瓜、探本求源,以更好地清点或整理中国的叙事、写人传统。

Ancient Chinese novels resorts to history, ancient prose, painting, drama and stereotyped writing and their terms to complement the lack across discipline so that there are ＂Example across Discipline＂ kinds of rhetoric such as ＂imitating history＂, ＂imitating ancient prose＂, ＂imitating paint- ing＂ and ＂imitating drama＂. This critique is aimed at narrative text as well as text about people. Terms of the latter have two key words： one is ＂representative＂ theory shared by novel and painting, ancient prose, drama; the other is criticism with ＂Example across Discipline＂ with ＂state＂ as the pro- jected characteristic of figures in traditional novel as an actor. As for meaning and function, the criti- cism of traditional novel is beneficial to critics to interpret and criticize text conveniently as well as to readers to understand correctly the advantage of novel compared with painting concerning narrative and figure description. Last it is good for the research to explore the root of everything.