抒情传统与“汪氏文体”特征——论汪曾祺作为抒情诗的散文化小说

The Lyric Tradition and the Characteristic of “Wang Zeng-qi's Style”

汪曾祺是当代文学史和当代文学研究中的重要作家。汪曾祺专擅短篇小说,其小说在20世纪80年代及其后的中国小说创作中具有的重大意义,殆无疑义。汪曾祺的小说,属于中国现代抒情小说一脉,是现代诗化小说的余绪和回响,受晚明小品和归有光的"文气说"影响很深,再加上西方文学的影响,共同在汪曾祺身上产生了"作为抒情诗的散文化小说"这样一种文学体式。通过梳理汪曾祺在散文化的中国现代抒情小说流脉里的师承和传承关系,看其风俗画特征的、将风俗视为"一个民族集体创作的生活抒情诗"的写作。汪曾祺小说多第三人称全知叙事,在视点几乎不发生转换的情况下,借由贴近人物叙述,依然写出了生动感人的小说。

Wang Zeng-qi is an important writer in the history and study of contemporary literature. He specializes in short story, and his fictions are of great significance in the creation of Chinese fictions in the 1980 s and after. Wang Zeng-qi’s fictions, belonging to a vein of Chinese modern lyric fictions, are the aftersound and echo of modern poetic fictions. He is deeply influenced by the essays in the Late Ming Dynasty and the doctrine of"Wen-qi"which put forward by Gui You-guang. Together with the influence of western literature, Wang Zeng-qi produces a literary style of"prose novel as lyric poetry". Through combing Wang Zeng-qi’s inheritance in the stream of Chinese modern lyric novels which characterized by the prose-style, we can find that his work bears the hallmark of genre painting. In addition, he regards custom as the writing of"a life lyrics composed by a nation group". What’s more, Wang Zeng-qi’s fictions are mostly third-person omniscient narrations, and he still produces vivid and touching works by getting close to the characters’ narrations without changing the point of view.