莫言的聊斋

Mo Yan's “Liaozhai”

作为一个"讲故事的人",诺贝尔奖文学奖得主莫言的资源是多方面的。但他创作中的"魔幻""妄语",并非完全来自西方现代主义,恰恰更多的是来自中国民间,来自与中华古典文化传统的密切联系。本文以莫言得意的两部长篇小说为例,讨论了他学步蒲松龄的《聊斋志异》,运用六道轮回的传统观念和民间想象并予以艺术创新,运用文体的"满汉全席"解读"饮而醉"的典故并谴责极度贪腐的"官场酒文化",从而践履了对"小说原点"的回归。自然,如何将"风俗史"和"心灵史"在更高的层面上融汇起来,或许是莫言和他的同行们更为艰难的美学担当。

As a 'storyteller', Nobel Prize literature winner Mo Yan's resources are multifaceted. But his creation of 'magic', 'illusive language', not entirely from the Western modernism, but more from the Chinese folk ,from the close relation with the classical Chinese culture. This article takes two novels of Mo Yan as an example, discusses his study of Pu Songling's 'Strange Tales of Liaozhai', uses six reincarnation of traditional concept and folk imagination to be artistic innovation, uses style of 'Manchu' to interpret 'Drunk 'allusions to condemne the extreme corruption of' offcial wine culture ', thus practicing the' novel origin 'of the return. Naturally, how to integrate 'custom history' with 'spiritual history' at a higher level , perhaps is a difficult aesthetic responsibility in Mo Yan and his colleagues.