虚实相生:《梁书》传记文本的非写实内容与史家叙事指向的关系
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摘要
读过《梁书》当有两个印象深刻之处:一是入传者几乎人人以孝闻;二是入传者几乎个个"善属文"。可见萧梁一朝虽国祚不长,但以"孝"显国威,亦可称为文学之盛世。《梁书》中非写实内容分布甚广,史家用力最多的还在孝行传、处士传和文苑传,这是因类取材的表现,也是时代观念的反映。从这个角度说,梦幻书写的出现出于书写内容的需要,也是史家的自觉选择,这个选择与史家求真的书写意图并不矛盾。姚氏父子既认同了范缜神灭论的观点,也在涉及特殊人物传记书写的时候引入了有助于表现书写意图的非写实内容。非写实内容介入文本后所发挥了弘扬主题的作用,史家显然突出了梦幻书写的功能性特征,也遵守了"明神道之不诬"的撰写宗旨。同样是非写实内容的介入,史家与小说家选取的书写视角的区别正在于史家叙事指向的实在性,而"小说家言"则往往形成了虚幻的独立的叙事空间。
What impressed in The Book of Liang Dynasty are everyone recorded in the book due to filial piety and all record with well-reputation almost. Thus the Liang Dinasty,without long history,was known as taking"filial piety"as significant national prestige and golden age of literature. Non-realistic content widely distributed in the book,classified as the filial,the scholars and the literati biography,which reflected the era concept. From this perspective,the emergence of fantasy was for writing needs,but also on conscious choice of historians,not contradictory to their writing intentions. As the the same intervention of non-realistic contents,the difference between the historian and the novelist was the writing perspective,which the former selected to narrate the reality,while the novelists tended to form the illusory independent narrative space.
What impressed in The Book of Liang Dynasty are everyone recorded in the book due to filial piety and all record with well-reputation almost. Thus the Liang Dinasty,without long history,was known as taking"filial piety"as significant national prestige and golden age of literature. Non-realistic content widely distributed in the book,classified as the filial,the scholars and the literati biography,which reflected the era concept. From this perspective,the emergence of fantasy was for writing needs,but also on conscious choice of historians,not contradictory to their writing intentions. As the the same intervention of non-realistic contents,the difference between the historian and the novelist was the writing perspective,which the former selected to narrate the reality,while the novelists tended to form the illusory independent narrative space.
引文
[1]钱钟书.管锥编[M].北京:生活·读书·新知三联书店,2008.
[2]李少雍.姚氏父子的文笔与史笔——读《梁书》《陈书》札记[J].文学遗产,2001,(6):12-19.
[3]刘湘兰.中古叙事文学研究[M].北京:北京大学出版社,2011:221.
[4]王文革.文学梦的审美分析[M].武汉:华中师范大学出版社,2006:253.
[5]史素昭.唐代传记文学研究[M].长沙:岳麓书社,2009:97-98.
[6]李鹏飞.唐代非写实小说之类型研究[M].北京:北京大学出版社,2004:273.
[2]李少雍.姚氏父子的文笔与史笔——读《梁书》《陈书》札记[J].文学遗产,2001,(6):12-19.
[3]刘湘兰.中古叙事文学研究[M].北京:北京大学出版社,2011:221.
[4]王文革.文学梦的审美分析[M].武汉:华中师范大学出版社,2006:253.
[5]史素昭.唐代传记文学研究[M].长沙:岳麓书社,2009:97-98.
[6]李鹏飞.唐代非写实小说之类型研究[M].北京:北京大学出版社,2004:273.