摘要
《玉梨魂》与《雪鸿泪史》是民初鸳蝴派小说的代表作品,其共同点都用了以诗词入文的叙述形式。这种叙述形式在演进中不断地发展。从明传奇的"附赘累牍"到清初才子佳人小说的"以诗为媒",直至《玉梨魂》与《雪鸿泪史》,入文诗词开始承担起传达人物情绪体验的叙述功能。这种叙述形式既源于古代文学传统,又适合小说中旧礼教下才子佳人情感表达的身份需要,徐枕亚将其发挥到了极致。但这种叙述形式历来为新文学家们所诟病,这就需要重新审视原有的评价标准。
YuLiHun and XueHongLeiShi are the representatives of the School of Mandarin Duck-and-Butterfly novels in the early times of Republic of China. Both of them are featured with the narrative form--citing poems into text. This narrative form continued de- veloping in the evolution from the Legend of Ming Dynasty as an attachment in text, the scholar-beauty novels of early Qing Dynasty as a medium, to the novels of YuLiHun and XueHongLeiShi, in which poems began to assume the function of conveying emotional experi- ence in the novels. This narrative form derived from the ancient literary traditibn, and fit for the emotion expressing of the scholar-beau- ty＇ s status in the Confucianism. Xu Zhenya played his form in perfection. But it has constantly been criticized by New Literature writ- ers later, which brings re-examination of original assessment criteria into consideration.
出处
《西华大学学报（哲学社会科学版）》
2010年第5期58-62,共5页
Journal of Xihua University(Philosophy & Social Sciences)
关键词
鸳鸯蝴蝶派
《玉梨魂》
《雪鸿泪史》
诗词
叙述
School of Mandarin Duck-and-Butterfly
YuLiHun
XueHongLeiShi
poem
narrative
