隋唐“谐谑”小说的发展——敦煌卷子《启颜录》
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摘要
敦煌卷子《启颜录》受到"世说体"的影响,遵循"以类相从"的原则,对后世的谐谑小说的分类有着示范作用,但敦煌卷子《启颜录》分类已经显示"笑林体"非"世说体";成为我国谐谑小说成熟的标志;《启颜录》"嘲诮"成为贯串全书的艺术手段,特征是"以隐为谐";《启颜录》对小说"谐谑"生态具有深远的影响。
The Dunhuang paper is influenced by the word"the world",followed by the principle o f"the class,"and it has a demonstration of the classification of the prologue of the afterlife,but the Dunhuang paper,"the story of the story"has been catalogued,and it has been shown that "the laughingwood"is not"the word of the world";It becomes the mark of maturity of Chinese scherzo novels.The"mocking"in qi yan lu has become an artistic method throughout the book,which is characterized by "taking implicit as harmonic". Qi yan lu has a profound influence on the ecology of the novel"scherzo".
The Dunhuang paper is influenced by the word"the world",followed by the principle o f"the class,"and it has a demonstration of the classification of the prologue of the afterlife,but the Dunhuang paper,"the story of the story"has been catalogued,and it has been shown that "the laughingwood"is not"the word of the world";It becomes the mark of maturity of Chinese scherzo novels.The"mocking"in qi yan lu has become an artistic method throughout the book,which is characterized by "taking implicit as harmonic". Qi yan lu has a profound influence on the ecology of the novel"scherzo".
引文
[1]董志翘.《启颜录》笺注[M].中华书局,2014.以下《启颜录》引文均出自该书。
[2][唐]刘知几.史通[M].北京:中华书局,2014.
[3]鲁迅.中国小说史略[M].北京:人民文学出版社,1981.
[4]罗宁,王东,点校.《南北史续世说》的序言[J].古典文学知识,2017,(5).
[5]王小盾,潘建国.敦煌论议考[M].中国古籍研究(第一卷),1996.
[6]胡应麟.少室山房笔丛[M].上海:上海书店,2009.
[7]王昆吾.从敦煌学到域外汉文学[M].北京:商务印书馆,2003.
[8]张鸿勋.郭煌俗文学研究[M].兰州:甘肃教育出版社,2002.
[9]朱瑶.《启颜录》成书考[J].四川大学学报(哲学社会科学版),2011,(2).
[10]刘勰.文心雕龙[M].北京:中华书局,2012.
[11]郑劭荣.中国传统戏曲口头剧本研究[M].北京:光明日报出版社,2015.
[12]陈寿.《三国志》卷42《周群传》[M].上海:上海古籍出版社,2012.
[13]华莱士·马丁.当代叙事学[M].伍晓明,译.北京:北京大学出版社,1990.
[14]韦勒克,沃伦.文学理论[M].刘象愚,等,译.南京:凤凰出版传媒集团,2005.
[15]薛宝琨.薛宝琨曲艺文选[M].北京:中国文联出版社,2013.
[16]兰陵笑笑生.皋鹤堂批评第一奇书金瓶梅[M].王汝梅,校注.长春:吉林大学出版社,1994.
[17]胡文彬.《红楼梦》与中国姓名文化[J].红楼梦学刊,1997,(3).
[18]刘勇强.中国古代小说史叙论[M].北京:北京大学出版社,2007.
[19]丁锡根.中国历代小说序跋集[M].北京:人民文学出版社,1996.
[20]任中敏.《优语集》总说[M].南京:凤凰出版社,2013.
[2][唐]刘知几.史通[M].北京:中华书局,2014.
[3]鲁迅.中国小说史略[M].北京:人民文学出版社,1981.
[4]罗宁,王东,点校.《南北史续世说》的序言[J].古典文学知识,2017,(5).
[5]王小盾,潘建国.敦煌论议考[M].中国古籍研究(第一卷),1996.
[6]胡应麟.少室山房笔丛[M].上海:上海书店,2009.
[7]王昆吾.从敦煌学到域外汉文学[M].北京:商务印书馆,2003.
[8]张鸿勋.郭煌俗文学研究[M].兰州:甘肃教育出版社,2002.
[9]朱瑶.《启颜录》成书考[J].四川大学学报(哲学社会科学版),2011,(2).
[10]刘勰.文心雕龙[M].北京:中华书局,2012.
[11]郑劭荣.中国传统戏曲口头剧本研究[M].北京:光明日报出版社,2015.
[12]陈寿.《三国志》卷42《周群传》[M].上海:上海古籍出版社,2012.
[13]华莱士·马丁.当代叙事学[M].伍晓明,译.北京:北京大学出版社,1990.
[14]韦勒克,沃伦.文学理论[M].刘象愚,等,译.南京:凤凰出版传媒集团,2005.
[15]薛宝琨.薛宝琨曲艺文选[M].北京:中国文联出版社,2013.
[16]兰陵笑笑生.皋鹤堂批评第一奇书金瓶梅[M].王汝梅,校注.长春:吉林大学出版社,1994.
[17]胡文彬.《红楼梦》与中国姓名文化[J].红楼梦学刊,1997,(3).
[18]刘勇强.中国古代小说史叙论[M].北京:北京大学出版社,2007.
[19]丁锡根.中国历代小说序跋集[M].北京:人民文学出版社,1996.
[20]任中敏.《优语集》总说[M].南京:凤凰出版社,2013.