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话本小说滥觞于说话艺人和市井文人之作。其时 ,说话艺人和市井文人多受“谋生所迫”与“牟利之役”之役 ,因此 ,其创作原动力并非“发愤著书”之内驱 ,而是为物所使的外役力。话本小说作者受功利所制 ,不求留芳千古 ,却要受益一时 ,不得不抱定急功近利的行世观。作为话本小说创作两个前提的外役力和行世观 ,它们于提高小说社会地位、繁荣小说创作和保持小说的“市民文化”性质十分有益 ,但也并发了“媚俗”之症
Bookstall novels originated in the art of speaking artists and censor literati. In the meantime, the talkative artists and the civic literators were mostly subjected to “making a living” and “fighting for profit.” Therefore, the driving force of their creation was not the internal drive of “angry books,” but rather the force of service for their belongings. Textbook novel by the utilitarian system, not for ages, but to benefit for a moment, had to embrace the merits and demerits of the world outlook. As the two prerequisites of calligraphy novels, they are useful in improving the social status of fiction, promoting the creation of novels, and maintaining the “civic culture” of the novel. However, they are also accompanied by the symptoms of “kitsch”