个体意识与创作自觉——论李贽“童心说”与本居宣长“物哀说”

Self-consciousness and Consciousness of Creation: On Li Zhi’s “Innocent Mind” Theory and Motoori Norinaga’s “Mono-no-aware”

创作自觉应以创作主体的个体意识的自觉为前提,而个体意识在儒家文化盛行的背景下,往往被伦理和秩序所遮蔽。反映在文学中,则表现为文学创作的非个人化特征,重视文学的工具属性。李贽的“童心说”和本居宣长的“物哀说”都强调文学的创作自觉,强调对创作主体意识与情感的真实表现,反映出了封建社会晚期,思想解放所带来的创作自觉成为中日两国文学创作的一个规律,呈现中日两国文学的近现代转化具有一定自发性,乃至同步性。“童心说”更侧重个人的绝对自由,强调情感的“直”与“真”;“物哀说”则侧重“物”与“我”的相互交融,视物为“心”,并最终实现“以心感心”。因其侧重点不一样,其对文学的影响也各不一样,显示了中日两国不同的文化特色和理论追求。

The consciousness of creation should be based on the self-consciousness of the creating subject, which is often covered by the ethics and order in the prevailing of Confucian culture. On literature, it is manifested as the non-individualized feature of literary creation, and the instrumental nature is taken seriously. Li Zhi’s theory of “Innocent Mind” and Motoori Norinaga’s “Mono-no-aware” both emphasize the consciousness of literary creation and the real expression of the creative subject’s consciousness and emotion. It shows that in the late feudal society, the creative consciousness brought by thought liberation became a creation rule of Chinese and Japanese. Literature had a creation spontaneity and even synchronization. But “Innocent Mind” theory focus on absolute freedom of the individuals, emphasizes the “straight” and “true” of emotion while “Mono-no-aware” focuses on the mutual mingle of “thing” and “heart”, regards things as heart and finally realizes “feeling heart”. Due to its different emphasis, their influences on the literature are also different, which shows the different cultural characteristics and theoretical pursuit of China and Japan.