摘要
瞿佑创作于明初的《剪灯新话》,是中国历史上在东亚最具有跨国界影响力的古典小说集之一。它从15世纪起就开始风行于韩国,后来也一直在日本、越南盛传,惟独在中国反而随着时间的推移渐趋淹没。《剪灯新话》多以元明之际的战乱纪实、文人罹祸和儿女情恋(人鬼恋)为主题,这类主题使它在韩国、日本与越南得到令人惊异的接受:那里的读者普遍欣赏瞿佑的"故事"情节和"话语"方式,许多作家因此受到启发而把《剪灯新话》视为小说创作的最高典范,更为重要的是,它流行于这些国家正处于内战或这样的黑暗时代之后。而具有讽刺意味的是,由于政治上的原因及其特殊的文学风格与时代潮流相背离,《剪灯新话》在中国却经历了长期被禁的命运。审视《剪灯新话》在中国和其他东亚国家的极为不同的接受史,可以了解文学作品的独特命运与其作者遭遇、政治涵义的关联,并进一步意识到"跨国界"文学史的多层意义。
Jiandeng Xinhua(剪灯新话)written by the early Ming writer Qu You(瞿佑,1347-1433)is a collection of classical Chinese tales that exercised one of the greatest transnational influences in East Asia.The collection became popular in Korea as early as the 15th century and was later widely circulated in Japan and Vietnam-although in China it became increasingly obscure as time went by.Stories in the Jiandeng Xinhua are mainly set in the final years of the Yuan and realistically depict a country with a large population decimated by war.They are mostly about the lives of suffering literati,and a large number of tales use the theme of love between a talented man and a female ghost.Such topics resulted in a phenomenal reception of Jiandeng Xinhua in Korea,Japan,and Vietnam,and apparently general readers there took great delight in the 'story' and 'discourse' of Qu You's narrative so that many writers in those countries were inspired to regard Jiandeng Xinhua as the supreme model for composing fiction.More importantly,Qu You's stories became popular in East Asia at a time when all those countries were either undergoing disastrous civil wars or immediately after a period of similarly dark times.However,ironically,Jiandeng Xinhua was banned in China for a long time,mainly due to political reasons and partly due to its particular literary style that was against the trends of the times.By looking at these two drastically different reception histories(i.e.,in China and other East Asian countries,respectively)certainly some insight is gained into the unique destiny of literary works,the experience of the authors,and the various political implications.Moreover,different layers of meaning concerning literary histories would be able to be perceived across the boundaries of nations.
出处
《中山大学学报（社会科学版）》
CSSCI
北大核心
2008年第3期17-26,共10页
Journal of Sun Yat-sen University(Social Science Edition)
