“诗家夫子”的聚焦“魔镜”——王昌龄乐府七绝的叙事学观察

The Poetic Master's “Magic Mirror”:A Narratological Analysis of Wang Changling's Septa-syllabic-quatrain Songs

古代乐府诗的叙述结构大都比较简单,不能与后来的戏剧小说媲美,尤其是篇制短小的乐府七绝,大都采用宽泛意义上的"内聚焦"结构。即使运用无聚焦或外聚焦叙事,也都一目了然。而王昌龄有几首七绝却别出心裁,或运用双重聚焦表现不同声音,或运用复合聚焦创造纵深意境,还把人们在抒情诗中常用的"倩女离魂法"用在乐府诗中,在短短四句诗中从外聚焦转为人物内聚焦,让聚焦对象成为聚焦者、与第二层聚焦对象"回环聚焦"。这位"诗家夫子"的脑海中当然没有"聚焦"的概念,可他手中却似有一面"魔镜",创造了令千百年后懂得"聚焦"理论的读者叹为观止的艺术结构,其巧妙匠心,又为体制庞大的戏剧小说所不及。

The narrative structures of most ancient folk songs that are collected by the Music Bureau is comparatively simple, and may not be able to compare with those of later plays and novels. This is especially true for short septa-syllabic-quatrain songs. They normally adopt a roughly internal-focused structure in their narrative. Even if they may have no focus or an external focus in their narrative, their narrative structures are still very evident. However, some of Wang Changling＇s septa-syllabic-quatrain songs are different. Some of them may have double-focus structure to present different voices. Some others may use compound focus to create a profound mood, and even introduce into the songs＂beautiful lass＇ reflected longing＂—a narrative structure that is often used in lyrical poems. Thanks to this special kind of narrative structure, the four-line-long song shifts from external focus onto the poetic figures＇ internal focus, making the object of the focus into the subject of the focus and bringing the later and the object of the second-layered focus into a＂reflected focus.＂Of course, there was no such a concept as＂focus＂in the mind of this＂Poetic Master.＂However, it seems that he was having a＂magic mirror＂in his hands, creating a narrative structure that will impress readers thousands of years later who know well of the＂focus＂theory. Wang＇s creative and delicate design is unmatched by the colossal plays and novels.