中国古代小说批评中的“体认”观念及相关术语通解

Interpretation of The Concept of“Empathizing”and Related Terms in Ancient Chinese Novel Criticism

在中国传统文论中,用于诗文、绘画、书法以及戏曲等文学艺术论域的“体认”观念及相关术语,在小说批评领域又有新的生发。其中,“亲动心”“设身处地”“游戏三昧”“以小喻大”等术语大多含有“遥体人情”“悬想事势”“体认其理”等意蕴。这种设身处地的“体认”式创作观念,以“揣摩”“悬想”为灵魂,并以讲求符合事理、情理等“理境”为归宿,有别于通常所谓的亲历亲为或亲身闻见性的“体验”式创作观念。对这一系列相关术语加以重组、联通,可形成一套系统性的“体认”创作学与接受美学原理。

In traditional Chinese literary criticism,the concept of“Empathizing(体认)”and related terms used in the domains of poetry,painting,calligraphy,and drama have found new development in the field of novel criticism.Terms such as“aroused interest and desire”,“putting oneself in other s position”,“practicing samadhi”,and“using the small as a metaphor for the big”and so on mostly carry implications like“remotely feeling the emotions”,“imagining the situation”,and“comprehending the principles”.This kind of empathetic creative concept emphasizes on“speculation”and“imagination”as its essence while seeking logical consistency with reality and emotions as its ultimate goal.It is different from the usual experiential approach that focuses on personal involvement or firsthand experience.By reorganizing and connecting this series of related terms,a systematic theory of creative empathy can be formed along with aesthetic principles for reception.