试论《聊斋志异·莲香》中的“对偶美学”

The Research of the“Aesthetics of Antithesis”in Liaozhai Zhiyi·Lian Xiang

“对偶”这一修辞蕴含着中国古典哲学中二元对立、阴阳互补的思维方式与审美观念。浦安迪提出“对偶美学”说,指出对偶之美不仅表现于诗文,也体现在中国古典叙事文学中。此后学界多在长篇章回小说中讨论“对偶美学”,但少有涉足短篇文言小说者。《聊斋志异》作为文言小说集之经典,有相当的篇什体现了“对偶美学”,《莲香》即其中典型。深入分析《莲香》一篇的文本,其在人物塑造、结构布局、理想意蕴等方面,处处符合对偶美学的特征,不仅为读者提供了和谐圆融的审美体验,更在同类型故事上有所突破,完成了由“双美”向“共美”的转变,体现了我国古典叙事艺术的进步。

The rhetoric of“antithesis”embodies the classical Chinese philosophy of binary opposition and yin-yang complementarity,as well as aesthetic concepts.Aaesthetics of antithesis,as proposed by Andrew H.Plaks,is not only seen in poetry,but also in classical Chinese narrative literature.Since then,there have been many discussions on the aesthetics of antithesis in long chapter novels,but few have covered short literary novels.As one of the classics of literary fiction,the Liaozhai Zhiyi has a significant number of pieces that embody the“aesthetics of antithesis”,of which Lian Xiang is a typical example.An in-depth analysis of the text of Lian Xiang reveals that its characterization,structural layout and ideal connotations are all in line with the aesthetic characteristics of antithesis,which not only provides the reader with a harmonious and rounded aesthetic experience,but also makes a breakthrough in the same type of story,completing the transformation from“double aesthetics”to“common aesthetics”,reflecting the advancement of classical narrative art in China.