道是无情却有情——以《异秉》《受戒》《岁寒三友》《大淖记事》等为例

Seemingly Ruthless but in Love——A Case Study of A Gifted Man,The Love Story of a Young Monk,Three Friends of Winter and A Tale of Big Nur

汪曾祺尤擅短篇小说写作,并形成"叙事与抒情"的文论主张。这是他的"汪氏文体"的典型特征。汪曾祺的小说,属于中国现代抒情小说一脉,是现代诗化小说的余绪和回响,受晚明小品和归有光的"文气说"影响很深,再加上西方文学的影响,产生了"作为抒情诗的散文化小说"这样一种文学体式。汪曾祺在"在叙事中抒情,用抒情的笔触叙事"当中,强调"贴近人物叙述",强调"作者对所写的人物要具有充满人道主义的温情,要有带抒情意味的同情心",并形成"东边日出西边雨,道是无晴却有晴"的文论与美学主张,是抒情传统在中国现当代文学的赓续和扩展。

Wang Zeng-qi is good at writing short stories and has formed a literary theory of'narration and lyric'.This is the typical characteristic of his'Wang Zeng-qi’s style',which is unique and unquestionable.Wang Zeng-qi’s novels,belonging to a vein of Chinese modern lyric novels,are the aftersound and echo of modern poetic novels.He is deeply influenced by the essays in the Late Ming Dynasty and the doctrine of'Wen-qi'which put forward by Gui You-guang.Together with the influence of western literature,Wang Zeng-qi produces a literary style of'prose novel as lyric poetry'.In his'expressing emotion in the narration,using lyric writing method to narrate',Wang Zeng-qi stresses that'close to the character in narration'and'the author should have humanitarian warmth and lyrical sympathy for the character'.In addition,he forms the literary theory and aesthetic proposition of'east sunrise and west rain,seemingly ruthless but in love',which is the continuation and expansion of the lyric tradition in modern and contemporary Chinese literature.