當代視域下的聊齋新義－－以〈陸判〉、〈捕快張三〉中的審美及人道主義為中心

The Meaning of “Liaozhai Hsini”in New-period Literature―Focus on Aesthetic appreciation and Humanitarianism in “Lupan” and “Pukuaichangsan”

汪曾祺「聊齋新義」，創作於1987～1991 年間，正是新時期尋根小說興盛時期。汪曾祺選擇古典小說《聊齋誌異》進行改編，形式上改變《聊齋誌異》筆記體、傳奇體兼具筆法，以承繼中國筆記傳統所開創的「新筆記小說」進行改編，並藉由白話文的特色，鋪陳細節及對白，著力描寫、辯證傳統士人價值觀如何在平民生活中消解。「聊齋新義」的內容，則可分為審美昇華及人道關懷。汪曾祺在市井小民日常生活中，添加現代的審醜觀念視角，提示人們對於人的「醜」、缺點，能以審美意識代替道德意識進行美學轉化，並在透視既有價值觀與日常生活間不協調的「醜」之際，能夠進一步思考如何在日常生活間得到屬於當代的精神昇華。本文以〈陸判〉與〈捕快張三〉兩篇為中心，文體上以「細節補白」及「對話辯證」進行分析，內容上則以「審醜視角」及「人道主義」兩個角度分析文本，並擴展至「聊齋新義」系列作品加以闡述，再加以說明其時代意義。探索寫作形式及日常生活的先鋒小說及新寫實小說大行其道的文學風潮中，汪曾祺藉其故事新編回溯晚明、五四、京派傳統，提醒人們並非只能浮沉於生活瑣事中，而是能進行審美眼光，並用自己的情感進行選擇，引領人們進行內在精神超越，具有切中肯綮的生命觀照。 “Liaozhai Hsini”, written by Wang Tseng-chi, was published in 1989-1991, the flourishing period of seeking-root literatures. Wang Tseng-chi chose an ancient tales Liaozhai Zhiyi as a source for adaptation and changed its literary form, a combination of the genre of sketchbooks and the legendary style, to the new sketchbooks genre. Besides, Written Vernacular Chinese is used in this series to narrate in detail and create the dialogues, and also used for debating how the ancient values of the intellectual classes are changed in the daily lives of common man. This passage focuses on two articles “Lupan” and “Pukuaichangsan”. The passage discusses its literary genre through filling additional details and debating, and analyzes its content through an appreciation of ugliness and the humanitarianism. Furthermore, it extends the analysis to the series of “Liaozhai Hsini”and then discusses the time significance of this series. In the literary boom of the pilot novels and the new realism novels, which focus on exploring varieties of literary form and daily lives, Wang Tseng-chi traces back to the late Ming Dynasty, May Fourth period, and Beijing school, reminding people that they can choose their own lives through their aesthetic appreciation and emotions rather than feel helpless in their daily lives.