“寓意小说”作为方法——论陈彦“舞台三部曲”兼及古典传统的赓续问题

“Allegorical Novel”as a Method:On Chen Yan’s“Stage Trilogy”and the Continuation of the Classical Tradition

被归入陈彦长篇小说“舞台三部曲”的《装台》《主角》《喜剧》均有着可以明确辨识的独特的观念和审美表达方式。以对叙事虚构作品所开显之“小天地”的精心营构表达作者对更为宏阔的人间世态人情物理的洞见,为其核心特征。而其“笔法”,又近乎中国古典“奇书文体”之“二元补衬”和“多项周旋”的基本特点。本文尝试以“寓意小说”指称陈彦“舞台三部曲”的上述特点,并进一步探讨其之于当代文学赓续中国古典传统开出小说艺术新境界的意义。“寓意小说”不仅包含着融通“古”“今”“中”“西”多元传统和多种审美经验的解释学效力,亦属中国古典传统现代转换的尝试性路径之一种,有着值得深入辨析的重要意义。

“The Stage Shifters”,The Protagonist and The Comedy included in Chen Yan’s“Stage Trilogy”,have unique concepts and aesthetic expression that can be clearly identified.With the elaborate construction of the“small world”,the author’s insight into the more magnificent human society can be revealed as its core characteristics.Its writing style is almost close to the basic characteristics of the“binary complement”and“multiple rotation”of the Chinese classics.This paper tries to refer to the above characteristics of Chen Yan’s“Stage Trilogy”and further discusses the significance of opening the new realm of novel art in the continuous Chinese classical tradition of contemporary literature.“Allegorical novel”not only contains the interpretive effect of integrating“ancient”and“modern”,“Chinese”and“western”traditions and various aesthetic experience,but also the experimental path of modern transformation of Chinese tradition,which is of great significance for further analysis.