从“机趣”看李渔的创作和生活
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摘要
本文主要是以李渔戏曲理论中的“机趣”作为切入点,在分析了“机趣”理论的巨大张力和丰富内涵以后,从“机趣”的角度来阐释李渔的小说创作和日常生活,并分析“机趣”得以对李渔实现此种泛化的原因。具体阐释如下：
第一章通过曲论中“机趣”的审美范畴梳理,着重挖掘“机趣”发展至李渔进行整合创造后所赋予的新的美学内涵。“机者传奇之精神,趣者传奇之风致”,“机趣”既可分别阐释,各有偏重,“机”之精神是着重内容而言的,是戏曲内在精神的连贯完整,前后呼应。而“趣”之风致是着重形式而言的,是戏曲外在形式所呈现的生动形象,诙谐幽默。但二者又是统一为一体的,虽各有所侧重,但一旦结合为“机趣”这样一个完整的意思后,便超越了原本单一的意思,不仅使戏剧语言在内容与形式上形成一种机理和生气的完美统一,充满“机趣”的戏剧语言又形成了充满“机趣”的戏剧结构,使曲折离奇而又充满“机趣”的结构与曲文联络为一个有机的整体,产生强烈的艺术感染力和极大的艺术魅力,共同产生活泼生动的“机趣”美,“机趣”在形成独特的审美意蕴后便超越了原本的理论应用范围,作为一个独特的对应着内容与形式这个古老美学命题的戏曲理论,自身在这种一分为二,二而合一的理论交错中获得了一种巨大的美学张力,“机趣”理论在这样的张力下便有了多元美学阐释的可能,在李渔小说创作和日常生活等方面产生了不同层次的泛化。
本文第二章具体详细的呈现和论述“机趣”之于李渔在应用范围层面和精神价值层面的泛化,而在每一部分的呈现又系统的分为“趣之风致”和“机之精神”两个层面,但二者不是决然分裂的,而是便于分析和呈现“机趣”美这种对立而又统一的美学意蕴的强大张力。每一部分的两个方面都是相互支撑,彼此扶持而共同建构的“机趣”之美。
本文第三章则是分析“机趣”之于李渔泛化呈现的多重原因,在论述时采用了同样的方法,从客观的时代社会背景和李渔主观的独特抉择两方面一而二的分析,二而一的归纳“机趣”的泛化呈现,使种种矛盾下冲突的李渔与具有矛盾中统一的“机趣”美达成了天然的默契和吸引,通过“机趣”之于李渔方方面面的泛化,使李渔的人格找到了一个可以和解的融通点,在亦商亦文的双重身份下,在既可以追逐商人之“趣”的同时又保留文人之“机”,通过“机趣”的泛化呈现而达到了一种人格突围和心灵自适。而在结语中指出选择“机趣”这样一种可以把矛盾融通的美学理论,选择李渔这样一个超越他的时代的集很多矛盾状况于一身的复杂自我作为研究对象,便是希望通过他们的结合给当下的我们一些启示,通过“机趣”的巨大美学张力在面对“日常生活审美化”所带来的美的泛化时有一份清醒,通过李渔所达到的人格突围和心灵自适在自身迷茫时有一种寄托,通过“机趣”之于李渔的天然默契的泛化找到适于自己的矛盾解脱,在精神痛苦时有一个两全之择。我们应该加强人文精神和美育方面的体系建构,使人们可以美学地活着,诗意地栖居。
This article is based on the drama theory of Li Yu's "JiQu" as a starting point, after the analysis of "JiQu's" great tension and richness, from the "JiQu's" point to explain Li Yu's novel creation and everyday life, then analyse the reason of "JiQu "to achieve such a generalization to Li Yu. Specific explanation is as follows:
The first chapter focuses on the development of'JiQu' theory and the new Aesthetic connotations created by Liyu, through a brief introduction to the scope of 'JiQu' theory.'Ji is a legendary spirit, Qu is a legendary charm','JiQu' can be interpreted separately, both of them has its own emphasis. The spirit of'Ji'is focused on contents, and the integrity of the structure, the corporation of the beginning and the end. While the charm of'Qu' is emphasized on the form, which means that the language that the drama use is vivid and humorous. At the same time, they are integrated. Even though they have different emphasis, when they are incorporated into integration'JiQu', it means more than what they are when they are separated. Not only does it make the words of the drama a perfect integration both in contents and forms, the words of the drama also form a structure that is full of'JiQu'. The meaning of 'JiQu' has gone beyond its original theoretical application scope when it finished the formation of a unique aesthetic implication. As an ancient unique aesthetic drama theory that is corresponded to the contents and forms, and the fact that it can be separated into two and the two unified into one, produces a huge aesthetic tension, making the theory have the possibilities to be interpreted diversely; making a generalization in different levels in LiYu's novels and daily life etc.
The second chapter specifically detailed the generalization of the'JiQu' in the application level and spiritual values. While the presence in each part is divided systematically into'the charm of the Qu' and'the spirit of Ji'. Note that the two are not splits, but to facilitate the analysis and show the beauty of'JiQu' in this great opposite but unified aesthetic implication tension. Each aspect is supportive to the other, and constructed the beauty of'JiQu' mutually.
The aim of the third chapter is to analyze the multiple reasons to that 'JiQu' has resulted in the presence of generalization in LiYu's works, the same method is used in discussion, that is, to analyze separately and integratedly from the objective social background and LiYu's subject unique choice in the presence of the generalization, making the beauty of'JiQu' integrated under all kinds of contradictions and conflicts. What'JiQu'is to the generalization of LiYu in all aspects, makes the character of LiYu find out a reconcilable intermediation point, with a dual identity of both business and literature, he can pursue the'Qu'of a businessman and the'Ji'as a man of letters. Through the generalization of'JiQu'he finds an achievement to a breakthrough of personality and an adaptation of soul.
In conclusion part, it is pointed out choosing'JiQu'which is an aesthetic theory of intermediation, choosing LiYu who is ahead of his time with a lot of contradiction and complexity of himself as the research objective, the aim is to find out some inspiration through the combination hopefully, and to keep calm through the huge aesthetic tension of'JiQu' when facing the generalization of beauty brought by the daily life aesthetic standards, and to hold a faith when we are at lost through the a breakthrough of personality and an adaptation of soul achieved by LiYu, and to find the solution to relief from contradictions through what'JiQu' is to LiYu's natural tacit understanding of the generalization, holding a choice when we feel mentally painful. We should strengthen the systematical and structural construction of human spirit and aesthetics, so that people can lead an aesthetic and poetic life.
第一章通过曲论中“机趣”的审美范畴梳理,着重挖掘“机趣”发展至李渔进行整合创造后所赋予的新的美学内涵。“机者传奇之精神,趣者传奇之风致”,“机趣”既可分别阐释,各有偏重,“机”之精神是着重内容而言的,是戏曲内在精神的连贯完整,前后呼应。而“趣”之风致是着重形式而言的,是戏曲外在形式所呈现的生动形象,诙谐幽默。但二者又是统一为一体的,虽各有所侧重,但一旦结合为“机趣”这样一个完整的意思后,便超越了原本单一的意思,不仅使戏剧语言在内容与形式上形成一种机理和生气的完美统一,充满“机趣”的戏剧语言又形成了充满“机趣”的戏剧结构,使曲折离奇而又充满“机趣”的结构与曲文联络为一个有机的整体,产生强烈的艺术感染力和极大的艺术魅力,共同产生活泼生动的“机趣”美,“机趣”在形成独特的审美意蕴后便超越了原本的理论应用范围,作为一个独特的对应着内容与形式这个古老美学命题的戏曲理论,自身在这种一分为二,二而合一的理论交错中获得了一种巨大的美学张力,“机趣”理论在这样的张力下便有了多元美学阐释的可能,在李渔小说创作和日常生活等方面产生了不同层次的泛化。
本文第二章具体详细的呈现和论述“机趣”之于李渔在应用范围层面和精神价值层面的泛化,而在每一部分的呈现又系统的分为“趣之风致”和“机之精神”两个层面,但二者不是决然分裂的,而是便于分析和呈现“机趣”美这种对立而又统一的美学意蕴的强大张力。每一部分的两个方面都是相互支撑,彼此扶持而共同建构的“机趣”之美。
本文第三章则是分析“机趣”之于李渔泛化呈现的多重原因,在论述时采用了同样的方法,从客观的时代社会背景和李渔主观的独特抉择两方面一而二的分析,二而一的归纳“机趣”的泛化呈现,使种种矛盾下冲突的李渔与具有矛盾中统一的“机趣”美达成了天然的默契和吸引,通过“机趣”之于李渔方方面面的泛化,使李渔的人格找到了一个可以和解的融通点,在亦商亦文的双重身份下,在既可以追逐商人之“趣”的同时又保留文人之“机”,通过“机趣”的泛化呈现而达到了一种人格突围和心灵自适。而在结语中指出选择“机趣”这样一种可以把矛盾融通的美学理论,选择李渔这样一个超越他的时代的集很多矛盾状况于一身的复杂自我作为研究对象,便是希望通过他们的结合给当下的我们一些启示,通过“机趣”的巨大美学张力在面对“日常生活审美化”所带来的美的泛化时有一份清醒,通过李渔所达到的人格突围和心灵自适在自身迷茫时有一种寄托,通过“机趣”之于李渔的天然默契的泛化找到适于自己的矛盾解脱,在精神痛苦时有一个两全之择。我们应该加强人文精神和美育方面的体系建构,使人们可以美学地活着,诗意地栖居。
This article is based on the drama theory of Li Yu's "JiQu" as a starting point, after the analysis of "JiQu's" great tension and richness, from the "JiQu's" point to explain Li Yu's novel creation and everyday life, then analyse the reason of "JiQu "to achieve such a generalization to Li Yu. Specific explanation is as follows:
The first chapter focuses on the development of'JiQu' theory and the new Aesthetic connotations created by Liyu, through a brief introduction to the scope of 'JiQu' theory.'Ji is a legendary spirit, Qu is a legendary charm','JiQu' can be interpreted separately, both of them has its own emphasis. The spirit of'Ji'is focused on contents, and the integrity of the structure, the corporation of the beginning and the end. While the charm of'Qu' is emphasized on the form, which means that the language that the drama use is vivid and humorous. At the same time, they are integrated. Even though they have different emphasis, when they are incorporated into integration'JiQu', it means more than what they are when they are separated. Not only does it make the words of the drama a perfect integration both in contents and forms, the words of the drama also form a structure that is full of'JiQu'. The meaning of 'JiQu' has gone beyond its original theoretical application scope when it finished the formation of a unique aesthetic implication. As an ancient unique aesthetic drama theory that is corresponded to the contents and forms, and the fact that it can be separated into two and the two unified into one, produces a huge aesthetic tension, making the theory have the possibilities to be interpreted diversely; making a generalization in different levels in LiYu's novels and daily life etc.
The second chapter specifically detailed the generalization of the'JiQu' in the application level and spiritual values. While the presence in each part is divided systematically into'the charm of the Qu' and'the spirit of Ji'. Note that the two are not splits, but to facilitate the analysis and show the beauty of'JiQu' in this great opposite but unified aesthetic implication tension. Each aspect is supportive to the other, and constructed the beauty of'JiQu' mutually.
The aim of the third chapter is to analyze the multiple reasons to that 'JiQu' has resulted in the presence of generalization in LiYu's works, the same method is used in discussion, that is, to analyze separately and integratedly from the objective social background and LiYu's subject unique choice in the presence of the generalization, making the beauty of'JiQu' integrated under all kinds of contradictions and conflicts. What'JiQu'is to the generalization of LiYu in all aspects, makes the character of LiYu find out a reconcilable intermediation point, with a dual identity of both business and literature, he can pursue the'Qu'of a businessman and the'Ji'as a man of letters. Through the generalization of'JiQu'he finds an achievement to a breakthrough of personality and an adaptation of soul.
In conclusion part, it is pointed out choosing'JiQu'which is an aesthetic theory of intermediation, choosing LiYu who is ahead of his time with a lot of contradiction and complexity of himself as the research objective, the aim is to find out some inspiration through the combination hopefully, and to keep calm through the huge aesthetic tension of'JiQu' when facing the generalization of beauty brought by the daily life aesthetic standards, and to hold a faith when we are at lost through the a breakthrough of personality and an adaptation of soul achieved by LiYu, and to find the solution to relief from contradictions through what'JiQu' is to LiYu's natural tacit understanding of the generalization, holding a choice when we feel mentally painful. We should strengthen the systematical and structural construction of human spirit and aesthetics, so that people can lead an aesthetic and poetic life.
引文
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