表现修辞的二重性——从《镕裁》篇考证《文心雕龙》的写作意图

The Duality of Expressive Rhetoric: The Intention of Literary Mind and the Carving of Dragon as Investigated from“Casting and Paring”

首先,本文在《文心雕龙》整体阅读的基础上,建立起《镕裁》与其他篇目的有机联系,我们才能逐渐领会和把握刘勰传授中国文化表现修辞的结构特质、文化效能和儒家伦理责任。其次,鉴于《情采》和《镕裁》两者在论证模式上的平行性,我们可以归纳出以"情"为主体性和以"辞"为文本性因素所构成的修辞的一体两面。它在《原道》《征圣》和《宗经》中得到了创世模式意义上"镕裁"(论证和书写)。因此,《文心雕龙》的写作意图在理论论证方面表现为:修辞是一个不自然的生成模式,由于内在化而与自然发生了分离,故修辞表现为善与恶的二重性;其书写法式体现为:在刘勰看来,或者刘勰的骈文写作本身暗示,中国文化所特有的"表现修辞"的功能在于,以征引经典文本方式使修辞突破其自身的限制,同时指引读者突破自身生存的限制,召唤读者充分参与超越性的儒教理念以及充分变更生命的能力。

On the basis of a global reading of Liu Xie＇s Literary Mind and the Carving of Dragon,this paper proposes a link between the section＂Casting and Paring＂and the other sections in the book,and maintains that only through such a link can the structural features, cultural efficiency and Confucian responsibilities in Liu Xie＇s expressive rhetoric. The parallelism in argumentative mode between the section ＂Affections and Coloration＂and the section ＂casting and paring＂informs a two-sided rhetoric with affection as the subjective quality and casting as the textual quality. ＂Casting and paring＂（ argumentation and writing） is realized as a primary mode in the sections of ＂The Source in the Way,＂＂Learning the Sages＂and ＂Revering the Classics. ＂Therefore,the intention of writing Literary Mind shows in its argumentation. First,rhetoric is an unnatural generating mode,and it shows a nature of duality of good and evil because its internalization separates itself from nature. Secondly,Liu Xie＇s writing mode shows that the unique function of expressive rhetoric suggested by his writing practice of parallel prose lies in both the breakthroughs in rhetoric by way of alluding to classical texts and in the reader＇s existential experience by way of calling the readers to participate in the transcendental Confucian ideals to change their lives.