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苏联文艺理论家、批评家巴赫金借用音乐表达术语于1929年发表的《陀思妥耶夫斯基的创作问题》中提出了“复调小说”理论,阐释作者本人多种人格的对话。由此衍义出叙述的复调性理论,叙述的复调性是指在同一叙事中有着两个甚至更多的声音的叙述方式。作品永远先于理论产生,文学作品中叙述的复调性其实已长期存在,对于中国古典小说来说,《红楼梦》尤其有着空前复杂的复调性叙述结构,作品中曹雪芹与读者乃至不同传抄本、不同形象多重声音的交叠发声,充分展现了人物叙述的层次和深度,本文以秦可卿为例,简要论述《红楼梦》在创作“可卿”形象时叙述的复调性应用。
The Soviet literary theorist and critic Bakhtin borrowed the terms of musical expression in the 1929 issue of “Dostoyevsky’s Creation” and put forward the “polyphonic novel” theory to explain the author’s own multi-personality dialogue . From this, we derive the narrative theory of polyphony and the polyphony of narration refers to the narration of two or more voices in the same narrative. The work always precedes the theory. The polyphony in the literary works has existed for a long time. For Chinese classical novels, “Dream of Red Mansions” especially has a complex polyphonic narrative structure. In his works, Cao Xueqin is different from readers and even different transcripts , Overlapping voices of different images of multiple voices, fully demonstrates the level and depth of the character narration. This article takes Qin Keqing as an example, and briefly discusses the application of polyphony in “Dream of Red Mansions” in the creation of “Ke Qing” image.