从手稿本《聊斋志异》的修改看蒲松龄对“春秋笔法”的接受

Pu Songling's acceptance of“Chuen-Qiou writing style”from the revision of the manuscript of Liaozhai Zhiyi

手稿本《聊斋志异》中有蒲松龄对原稿的修改痕迹,其背后的深层逻辑是中国叙事文学传统中的“春秋笔法”,是沿袭“春秋五例”的“笔削”。蒲松龄自觉化用“微而显”与“志而晦”的叙事方法,并使二者作为文法的内涵得到了扩充。原本“微而显”的内容,出于语境的变化愈显而愈隐;原本“志而晦”的内容,则愈隐而愈显。蒲松龄“为民而讳”,为美善之事回护,对奸邪与违礼之事不遗余力地批判,同时又在思想原则与社会价值层面坚决秉持守正的态度,这是对“婉而成章”与“尽而不污”以“惩恶扬善”为宗旨的聚合。对属辞与对话在修辞意义上的考量既是“尚简”,也是对情节合理性和文字有效性的考虑。

There are traces of Pu Songling's revision of the manuscript in the manuscript Liaozhai Zhiyi.The deep logic behind it is the“Chuen-Qiou writing style”in the Chinese narrative literature tradition,and the“Writing and Cutting”following the“Chuen-Qiou writing five cases”.Pu Songling consciously used the narrative methods of“slight and obvious”and“writing but obscure”,and expanded the connotation of the two as article skills.The original“slight and obvious”content is more obvious and more implicit due to the change of context.At the same time,the original“writing but obscure”content is more implicit and more obvious.Pu Songling“avoids taboos for the people”,defends the beautiful and good things,spared no effort to criticize the evil and the violation of etiquette,and at the same time resolutely adhered to a righteous attitude at the level of ideological principles and social values,which is the aggregation of the tenets of“gentle but orderly”and“complete but not dirty”with“punishing evil and promoting good”.The rhetorical consideration of generic words and dialogue is not only“simplicity”,but also the rationality of plot and the effectiveness of words.