却道此人是谁——论废名小说中的叙述者
摘要
废名是现代文学史上一个非常独特的作家，其独特性更多在于叙述艺术的独特。废名说：“人生的意义不在它的故事，在于渲染这故事的手法。”本文拟从废名叙事艺术的一个方面——叙述者方面进行研究。
在绪论中，本文首先针对叙述者单复数、性别及叙述者作者是否同为一人诸问题进行必要的界定，以表明立场。
第一部分通过废名在《桥》开篇讲述的一个深夜失火的小故事，其中亚斯巴斯的布娃娃是废名别出心裁的一个象征物，来阐释废名游戏叙述的观点，这种游戏精神由叙述者将之坚持到底。
第二部分论述具体的游戏手法。叙述者，我思故我在，不仅如此，我不思处我仍在。在“你”与“我”的游戏中，叙述者上演了一出出“现形记”与“变形记”，终于让人明了，叙述者无处不在。废名的叙述中，对文体界限的突破，对叙述规范的逾越，对别扭的叙述话语的刻意选择，及其文中扑朔迷离的“花园路”句子，破绽百出的语法，随心所欲的叙述风格，都充分显示了其游戏精神。
叙述者是在叙述过程中创造和虚构出来的，同叙述人物一样，他也具有自己的性格特征与人格力量。第三部分着眼于此。首先，对不可见的内心生活的省察造就了废名的极度内倾的叙述者，这个叙述者对自身抱着极大的兴趣与热情，善于思考，勤于内省，具有一种分裂的人格。其次，叙述者对自身的叙述具有清醒意识，并将自己的叙述行为置于经常性的审视与评价之下，使叙述行为凸显出来成为文本吸引读者的重要结构。同时，隆重的叙述仪式与并不隆重的日常生活之间的距离给了读者反省的空间：在超越了情节与离奇不经的生活之后，日常生活的丰富性与独特性让我们困惑，但是，假如自我的独特性及其唯一性不能在人的日常生活中被把握，那我们又该在何处和如何把握它呢?废名的叙述者在近乎痴人说梦的叙述中，牵引读者进入他的梦，同时又拒绝他们，因为“每个人都只能做自己的梦”。
第四部分论述叙述者困境。废名将一个不太遥远的童年搁在了自己的世界里。然而成人叙述与儿童视角的矛盾使叙述者看上去“少年老成”并略带矫情，如实自然的叙述与浓重的叙述加工痕迹之间的抵触，是其叙述困境之一。而凝固、内向、没有成长的时空与传统叙述线条的矛盾是废名对传统叙述学提出的挑战，能否摆脱线条是其困境之二。之所以存在困境，那是因为无法消除缺陷。即使废
名的叙述者有如此强悍的说的欲望，大有淹没一切之势，可是他仍然发现有一个
“不可说境地”，这个“不可说”让叙述者终于说“一落言诠，便失真谛”。语言
自身的缺陷与叙述者自身的缺陷，导致了叙述者在“说”与“不说”之间进退维
谷，成为叙述者的第三个困境。
Feiming's particularities lie rather more in the art of his narration than that of others aspects. Just as his words: the significant of the life is not the stories but the
finesses of it. This paper will try to fix eyes on one part of Feiming's narration------
narrator to further the research.
After clearing the query about whether the narrator is singular or plural, male or female and still more, whether the narrator and the author is the same one in the preface, the paper shows its standing-point to these disputes first of all.
The first part begins with a story in the beginning of the novel of the bridge about a remote village breaking out a fire hi the middle night, hi this story, the doll of Asbas acts as a hermeneutics symbol to expatiate the author's playful narrative concepts, which are carried forward by the narrator all the way.
The second part emphasizes on the concrete playing methods and game
techniques. When /play vAUhyou, when the narrator------who occurs both where /am
thinking and not thinking------presents and conceals his true being, and then we
achieve the understanding that the narrator exists actually anywhere and everywhere. Filled with multifarious fiddle-faddle, amphibolic garden-road sentences, and complicated and confusing solecism, Feiming's texts, the specialties of which rest on the breakthrough of the styles broad-line, the transcendence over the normative description, and the eccentric sentences, show an narrating style at his pleasure and a playful spirit.
Since the narrator, who is created during the course of description, as same as the roles, has his own personality and characteristic, the third part of this paper pay attention to this point. Aiming to the sightless innermost being, Feiming' narrator looks like, with great interest and enthusiasm hi his own self, an extreme introvert person, who indulges himself into the ulterior monologue, and hence has a schismatical personality. Under a self-knowledge and consciousness of his description, he put his narration into the frequent investigation and estimation, which cause the activity of narrating being apparent and distinct and then to be an organic part of the text. Meanwhile, the gap between the ceremonious narrating rite and the trivial day life leaves an introspective room for the readers: it is a great surprise that the day life could be so colorful and unique, this seems untouchable in our previous experience. If not, however, seek the richness and uniqueness of ourselves in the day life, where and
how can we hold them? Feiming's narrator sets traps for the readers and draws them into his dreams but expel them at the same tune, since one could dream one's own dream after all.
The fourth part touches on the dilemmas of the narrator. Despise his introspection and overthought, the narrator turns hot eyes to the childish angle of views, and places a not so faraway childhood in his world. The contradictions, one of which is between the mature adult description and the childish angle of view, make the narrator being an old head on young shoulders. That the purpose to be nature goes against the affected artificial narrative intonation, which leads his recountal to a cul-de-sac, is an inevitable narrative corner for him on the one hand. On the other hand, what are demanded for line and action element in the traditional description is a blank in Feiming's narration, this is no doubt a challenge to the tradition. In the fictional world of Feiming, only temporaries are integrated hi the anti-growing space-time, which can be hardly called thread with direction and continuity. Insomuch as the discrepancy of the unchangeable and indrawn space-time, how to escape the thread is another dilemma for the narrator. The reason for these puzzeldom is that it is impossible to uproot the connatural weakness within the linguistic sphere. Even though with the strong lust of narrating to flood everything, the narrator still find a place of being ineffable, which let the narrator say nothing but that "lose the truth, if sm
在绪论中，本文首先针对叙述者单复数、性别及叙述者作者是否同为一人诸问题进行必要的界定，以表明立场。
第一部分通过废名在《桥》开篇讲述的一个深夜失火的小故事，其中亚斯巴斯的布娃娃是废名别出心裁的一个象征物，来阐释废名游戏叙述的观点，这种游戏精神由叙述者将之坚持到底。
第二部分论述具体的游戏手法。叙述者，我思故我在，不仅如此，我不思处我仍在。在“你”与“我”的游戏中，叙述者上演了一出出“现形记”与“变形记”，终于让人明了，叙述者无处不在。废名的叙述中，对文体界限的突破，对叙述规范的逾越，对别扭的叙述话语的刻意选择，及其文中扑朔迷离的“花园路”句子，破绽百出的语法，随心所欲的叙述风格，都充分显示了其游戏精神。
叙述者是在叙述过程中创造和虚构出来的，同叙述人物一样，他也具有自己的性格特征与人格力量。第三部分着眼于此。首先，对不可见的内心生活的省察造就了废名的极度内倾的叙述者，这个叙述者对自身抱着极大的兴趣与热情，善于思考，勤于内省，具有一种分裂的人格。其次，叙述者对自身的叙述具有清醒意识，并将自己的叙述行为置于经常性的审视与评价之下，使叙述行为凸显出来成为文本吸引读者的重要结构。同时，隆重的叙述仪式与并不隆重的日常生活之间的距离给了读者反省的空间：在超越了情节与离奇不经的生活之后，日常生活的丰富性与独特性让我们困惑，但是，假如自我的独特性及其唯一性不能在人的日常生活中被把握，那我们又该在何处和如何把握它呢?废名的叙述者在近乎痴人说梦的叙述中，牵引读者进入他的梦，同时又拒绝他们，因为“每个人都只能做自己的梦”。
第四部分论述叙述者困境。废名将一个不太遥远的童年搁在了自己的世界里。然而成人叙述与儿童视角的矛盾使叙述者看上去“少年老成”并略带矫情，如实自然的叙述与浓重的叙述加工痕迹之间的抵触，是其叙述困境之一。而凝固、内向、没有成长的时空与传统叙述线条的矛盾是废名对传统叙述学提出的挑战，能否摆脱线条是其困境之二。之所以存在困境，那是因为无法消除缺陷。即使废
名的叙述者有如此强悍的说的欲望，大有淹没一切之势，可是他仍然发现有一个
“不可说境地”，这个“不可说”让叙述者终于说“一落言诠，便失真谛”。语言
自身的缺陷与叙述者自身的缺陷，导致了叙述者在“说”与“不说”之间进退维
谷，成为叙述者的第三个困境。
Feiming's particularities lie rather more in the art of his narration than that of others aspects. Just as his words: the significant of the life is not the stories but the
finesses of it. This paper will try to fix eyes on one part of Feiming's narration------
narrator to further the research.
After clearing the query about whether the narrator is singular or plural, male or female and still more, whether the narrator and the author is the same one in the preface, the paper shows its standing-point to these disputes first of all.
The first part begins with a story in the beginning of the novel of the bridge about a remote village breaking out a fire hi the middle night, hi this story, the doll of Asbas acts as a hermeneutics symbol to expatiate the author's playful narrative concepts, which are carried forward by the narrator all the way.
The second part emphasizes on the concrete playing methods and game
techniques. When /play vAUhyou, when the narrator------who occurs both where /am
thinking and not thinking------presents and conceals his true being, and then we
achieve the understanding that the narrator exists actually anywhere and everywhere. Filled with multifarious fiddle-faddle, amphibolic garden-road sentences, and complicated and confusing solecism, Feiming's texts, the specialties of which rest on the breakthrough of the styles broad-line, the transcendence over the normative description, and the eccentric sentences, show an narrating style at his pleasure and a playful spirit.
Since the narrator, who is created during the course of description, as same as the roles, has his own personality and characteristic, the third part of this paper pay attention to this point. Aiming to the sightless innermost being, Feiming' narrator looks like, with great interest and enthusiasm hi his own self, an extreme introvert person, who indulges himself into the ulterior monologue, and hence has a schismatical personality. Under a self-knowledge and consciousness of his description, he put his narration into the frequent investigation and estimation, which cause the activity of narrating being apparent and distinct and then to be an organic part of the text. Meanwhile, the gap between the ceremonious narrating rite and the trivial day life leaves an introspective room for the readers: it is a great surprise that the day life could be so colorful and unique, this seems untouchable in our previous experience. If not, however, seek the richness and uniqueness of ourselves in the day life, where and
how can we hold them? Feiming's narrator sets traps for the readers and draws them into his dreams but expel them at the same tune, since one could dream one's own dream after all.
The fourth part touches on the dilemmas of the narrator. Despise his introspection and overthought, the narrator turns hot eyes to the childish angle of views, and places a not so faraway childhood in his world. The contradictions, one of which is between the mature adult description and the childish angle of view, make the narrator being an old head on young shoulders. That the purpose to be nature goes against the affected artificial narrative intonation, which leads his recountal to a cul-de-sac, is an inevitable narrative corner for him on the one hand. On the other hand, what are demanded for line and action element in the traditional description is a blank in Feiming's narration, this is no doubt a challenge to the tradition. In the fictional world of Feiming, only temporaries are integrated hi the anti-growing space-time, which can be hardly called thread with direction and continuity. Insomuch as the discrepancy of the unchangeable and indrawn space-time, how to escape the thread is another dilemma for the narrator. The reason for these puzzeldom is that it is impossible to uproot the connatural weakness within the linguistic sphere. Even though with the strong lust of narrating to flood everything, the narrator still find a place of being ineffable, which let the narrator say nothing but that "lose the truth, if sm
引文
1、赵毅衡《当说者被说的时候——比较叙述学导论》中国人民出版社1998
2、张明亮《槐荫下的幻境》河北教育出版社2002
3、博尔赫斯《博尔赫斯文集·诗歌随笔卷》海南国际新闻出版中心1996
4、伽达默尔《伽达默尔集》上海远东出版社1997
5、戴卫·赫尔曼《新叙事学》北京大学出版社2002
6、王岳川《西方现代哲学》北京大学出版社1999
7、维特根斯坦《文化与价值》清华大学出版社1987
8、维特根斯坦《语言哲学》生活·读书·新知三联书店1992
9、米兰·昆德拉《小说的艺术》作家出版社1992
10、《意识流》中曙社会科学出版社1989
11、张寅德《叙述学研究》中国社会科学出版社1989
12、普鲁斯特《追忆似水年华》转引自矍世镜《意识流小说理论》四川文艺出版社1989
13、詹姆斯·费伦《作为修辞的叙事》北京大学出版社2002
14、周昌忠《西方现代语言哲学》上海人民出版社1992
15、格非《塞壬的歌声》上海文艺出版社2001
16、彼得·A·弗朗奇《分析哲学基础》上海译文出版社1994
17、董小英《叙事艺术逻辑引论》社会科学文献出版社1997
18、布斯《小说修辞学》北京大学出版社1989
19、申丹《叙述学与小说文体学研究》北京大学出版社1998
20、赵毅衡《苦恼的叙述者——中国小说的叙述形式与中国文化》北京二月文艺出版社1994
2、张明亮《槐荫下的幻境》河北教育出版社2002
3、博尔赫斯《博尔赫斯文集·诗歌随笔卷》海南国际新闻出版中心1996
4、伽达默尔《伽达默尔集》上海远东出版社1997
5、戴卫·赫尔曼《新叙事学》北京大学出版社2002
6、王岳川《西方现代哲学》北京大学出版社1999
7、维特根斯坦《文化与价值》清华大学出版社1987
8、维特根斯坦《语言哲学》生活·读书·新知三联书店1992
9、米兰·昆德拉《小说的艺术》作家出版社1992
10、《意识流》中曙社会科学出版社1989
11、张寅德《叙述学研究》中国社会科学出版社1989
12、普鲁斯特《追忆似水年华》转引自矍世镜《意识流小说理论》四川文艺出版社1989
13、詹姆斯·费伦《作为修辞的叙事》北京大学出版社2002
14、周昌忠《西方现代语言哲学》上海人民出版社1992
15、格非《塞壬的歌声》上海文艺出版社2001
16、彼得·A·弗朗奇《分析哲学基础》上海译文出版社1994
17、董小英《叙事艺术逻辑引论》社会科学文献出版社1997
18、布斯《小说修辞学》北京大学出版社1989
19、申丹《叙述学与小说文体学研究》北京大学出版社1998
20、赵毅衡《苦恼的叙述者——中国小说的叙述形式与中国文化》北京二月文艺出版社1994