著书者之笔与清代志怪的衍化——以志怪中西洋元素为分析线索

The Pen of the Writer and the Evolution of Tales of Mystery and the Supernatural in the Qing Dynasty——Foreign Elements in the Tales of Mystery and the Supernatural

早在＂反迷信＂一类的近现代话语出现之前,志怪就开始了自身的解体过程。清代＂著书者之笔＂是以诠释为特点的志怪,立言性和知识性导致传统知识谱系中志怪话语方式的解体。＂西洋＂作为新的＂殊方异物＂,为梳理志怪的衍化提供了知识性线索。自《山海经》始,志怪就成为中国古人阐释和接受异域风物的方式与框架。清代小说对西洋的＂志怪＂包括因袭与阐释两条路径：用传统的志怪话语叙述新见闻,使之成为＂熟悉＂的怪异模式;＂著书者之笔＂的＂释怪＂与＂寄所欲言＂,使怪异成为考据、议论的对象,志怪成为＂释怪＂。两种衍化殊途同归,隐含着志怪解体的必然性。清代西洋元素渗入志怪题材,虽没有形成系统连贯的类型与主题,但其体现的志怪＂无怪化＂倾向,却是观察这一文体性质及其走向必然解体的重要线索。

Since the beginning of The Classic of the Great Wilderness, tales of mystery and the supernatural have become the way and framework of ancient Chinese interpretation and acceptance of exotic sceneries. In the tales of the Qing dynasty, there were two paths of inheritance and interpretation about foreign sceneries. First, the traditional ghost words were used to narrate new information and make it a＂ familiar＂ weird pattern. Second, the pen of the writer made the foreign sceneries the object of being textual and argumentative. The two ways of evolution are the same, implying the inevitability of the disintegration of tales of mystery and the supernatural. The Western elements of the Qing Dynasty infiltrated into the genre, but there appeared the tendency of the＂ no strange＇tendency reflected in the mystery.