王彬彬文学批评的语言艺术浅论——以《八论高晓声》为例

On the Language Art of Wang Binbin’s Literary Criticism——Taking Eight Essays on Gao Xiaosheng as an Example

在当代文学批评热衷于理论跑马和方法竞技时,王彬彬仍正本清源地坚持对文学语言的欣赏和批评。但如果仅谈论王彬彬对作家们的语言的批评,而不谈及他自身的批评的语言,也是偏颇的。本文即以王彬彬近作《八论高晓声》为例,去品鉴他的批评语言。王彬彬的批评语言颇有特色:讲究一字一音的平仄,注重长句短句的变化,追求"骈偶"与"散体"的融合,常自觉不自觉地押韵和换韵,遣词造句也独具匠心,还不乏幽默。本文虽是对王彬彬语言艺术的粗浅之论,但品鉴的又不仅仅是语言本身。因为语言与思想、情感不可剥离,王彬彬的精美、有趣且韵味无穷的批评语言,正是生发于他的深邃的思想和真诚的情感之中的。

While contemporary literary critics are keen on the theory exaggeration and method competition, Wang Binbin still insists on the appreciation and criticism of literary language. But it is also biased to talk only about Wang Binbin’s criticism of the language of writers, without talking about the language of his own criticism. This paper takes Wang Binbin’s recent work Eight Comments on Gao Xiaosheng as an example to appreciate his critical language. Wang Binbin’s critical language is quite distinctive-he pays attention to the tonal pattern of words and sounds, pays attention to the change of long sentences and short sentences, consciously or unconsciously, he often rhymes and changes rhymes, chooses words and sentences with originality and humor. This paper shows a superficial view on Wang Binbin’s language art, but it is not only the language itself that is evaluated, because language cannot be separated from thoughts and emotions, Wang Binbin’s exquisite, interesting and charming critical language originates from his profound thoughts and sincere emotions.