成体系的戏论:论高友工的抒情传统

A Systematic Jest: Yu-kung Kao's Lyrical Tradition

高友工是陈世骧之后最重要的抒情传统论者,但我认为高先生所构造的抒情传统论,虽体系俨然,自足自适,但用在中国文学的解释上,却是一套戏论。论高友工,首先应知他不是由体类论文学。恰好相反,他是说文化或文学的某些传统倾向会影响到体类的发展。其次,当知高友工不是比较文学或比较文化的进路,只是一种对中国文学及文化的解释。再者,其解释,形式上采用结构主义二元对立的对比分析,以确立两个理想型;内容上,对中国文化的解说则采取当代新儒家的心性论取向。高先生此说是经不起推敲的,可以从形式、理念、历史等方面来反驳他。

Yu-kung Kao is the most important proponent of the lyrical tradition after Chen Shixiang, but while I concede that Mr Kao＇s conception of a lyrical tradition is a self-sufficient system, it is but a jest. In a discussion of Kao, it is important to know that instead of dealing with literature in terms of genres, he claimed that certain literary or cultural tendencies influ- enced the development of genres. Besides, his theory is not a gateway to comparative literature or comparative culture. Rather, it is an explanation of Chinese literature or Chinese culture. Moreover, as far as form is concerned, his explanation adopts the dualist analysis of structuralism in an attempt to set up two paradigms ; as far as content is concerned, his explana- tion of the Chinese culture adopts the modern New-Confucian distinction between mind and nature. This theory of Mr Kao is flimsy and can be refuted from perspectives of form, concepts, history and so on.