叙事:在模式与效果之间——论《老残游记》的叙事艺术

Narration:Between Pattern and Effect——On the Narrative Art of The Travel of Lao-can

现代叙事学理论引入小说研究 ,使小说叙事模式的探讨成为热点。限知叙事模式就是其中的一种。区分出一部小说采用某种叙事模式 ,固然也可以反映其艺术成就的高下 ,或彰显它对某些艺术特性的有效把握 ,但并不必然说明它的艺术效果及其感染力。《老残游记》就是这样一部作品。在近代中国小说中 ,它是较早采用第三人称限知叙事模式的小说。在域外小说以及中国传统小说叙事模式的双重影响下 ,它对这一叙事模式进行了自觉的运用和改造。它的成败得失 ,一方面显示了第三人称限知叙事的优势所在 ,同时也提示我们 ,叙事在模式与效果之间的定位应有一个明确的依归 ,即

After the introduction of the modern narrative theory into the study of fiction, the exploration into the narrative patterns of fiction became very hot, and one of the patterns is known as the Limited Narrative Pattern. Of course, the identification of narrative pattern of a novel can help to show its artistic achievement or the writer's good command of certain artistry, but it does not necessarily prove its artistic effect or impact. The Travel of Lao can is a case in point. In modern Chinese fiction, this work is one of the earliest ones employing the 3rd person limited narrative pattern. Under the double influence of foreign novels and classical Chinese novels, it made conscious use and reform of this pattern. From its success or failure, we can see that this approach has its own advantages. But, at the same time, we have been made award of the fact that narration must have its own definite role. That is to say, all narrative must be subject to the achievement of a definite artistic effect.