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//]]></script> <script type="text/javascript" src="http://103.249.53.35/gate/big5/afpmm.alicdn.com/g/mm/afp-cdn/JS/k.js@OldUrl;@JS;http://culture.taiwan.cn/lawhsx/201612/t20161214_11652212.htm_.js"></script>  </div>  <div id="tw_artmain"> <div class="tw_place"><a href="http://103.249.53.35/" target="_self">台灣網</a> > <a href="http://103.249.53.35/gate/big5/culture.taiwan.cn/" target="_self" title="兩岸文化" class="CurrChnlCls">兩岸文化</a> > <a href="http://103.249.53.35/gate/big5/culture.taiwan.cn/lawhsx/" target="_self" title="書訊" class="CurrChnlCls">書訊</a></div> <h1 class="art_tit">窮形盡相話當年</h1> <div class="art_time">2016年12月14日 08:12:27 來源：人民日報 <div class="art_font"><div style="float:left;margin-top:-6px;">  <div class="bdsharebuttonbox"><a href="#" class="bds_more" data-cmd="more"></a><a href="#" class="bds_qzone" data-cmd="qzone" title="分享到QQ空間"></a><a href="#" class="bds_tsina" data-cmd="tsina" title="分享到新浪微博"></a><a href="#" class="bds_tqq" data-cmd="tqq" title="分享到騰訊微博"></a><a href="#" class="bds_renren" data-cmd="renren" title="分享到人人網"></a><a href="#" class="bds_weixin" data-cmd="weixin" title="分享到微信"></a></div> <script>window._bd_share_config={"common":{"bdSnsKey":{},"bdText":"","bdMini":"2","bdMiniList":false,"bdPic":"","bdStyle":"0","bdSize":"16"},"share":{}};with(document)0[(getElementsByTagName('head')[0]||body).appendChild(createElement('script')).src='http://103.249.53.35/gate/big5/bdimg.share.baidu.com/static/api/js/share.js?v=89860593.js?cdnversion='+~(-new Date()/36e5)];</script>  </div><div style="float:left;"><a href="javascript:window.print();"><img src="http://ats.taiwan.cn/images/jingmao_34.gif" align="top" /></a>字號：<a href="javascript:void(0);" class="smallFont">小</a> <a href="javascript:void(0);" class="medFont">中</a> <a href="javascript:void(0);" class="largeFont">大</a></div></div> </div> <div class="art_con left"> <div class="art_txt fontsizebox"> <div class=TRS_Editor><p>　　王宏圖</p> <p>　　葛亮的長篇小說《北鳶》的結尾，盧文笙與馮仁楨這對情侶，歷經世事滄桑，在上海黃浦江和蘇州河交匯處徜徉。秋日的暮色中，一尾風箏在江面孤獨飄蕩，最後消失在蒼茫天際。通讀全書，它既是標題，又是貫穿通篇的隱喻；既是日常生活中司空見慣的玩物，到戰場上又能翩然起舞，權充莫爾斯電碼，在家國危難之際向後方發送出求救的資訊。它身世微賤，圖案或艷麗或素樸，在晴空裏自可乘好風，上雲霄，翱翔千里之外。但它終究不是神物，氣數方盡之際會溘然跌落，零落成泥，回歸大化，等待脫胎換骨、轉世重來的時日。這不也是一個人，一個家族，乃至一個時代悲愴命運的意味嗎？蘇東坡有詩對此一唱三嘆，“人生到處知何似？應似飛鴻踏雪泥。”</p> <p>　　葛亮先前因書寫南京20世紀百年變遷的《朱雀》而享譽文壇。在這部作品裏，金陵古都在中日戰爭、“反右”、“文革”、世紀之交等關節點上演變出瑰麗的傳奇。新作《北鳶》沿襲了這一脈絡，但時間跨度大為縮減，聚集于1926至1947年間的民國。其間以作者個人家族的背景故事做襯裏，虛構與史實交織纏繞，將盧、馮兩家眾多人物的命運娓娓道來。其間不乏傳奇化的情節（最為典型的莫過於京劇女伶言秋凰刺殺日本軍官和田），但佔據讀者視野的主要還是作者用工筆，窮形盡相描摹出的日常生活情狀。生老病死，盛衰枯榮，都被冷雋練達的筆法，鑲嵌在時間流轉的框架內。用作者的話說，旨在釀造出“可容納華美而落拓的碎裂”的意境。</p> <p>　　熟悉中國古典小說的讀者會發現，《北鳶》在很大程度上承襲了《金瓶梅》開啟的世情小說風格。從語言風貌，結構章法，塑造人物，敘述視角，諸多角色的待人接物和思維情感特徵，以及滲透在字裏行間的情趣意旨來看，它稱得上一部摹倣意味濃厚的新古典主義作品。雖然在形式上沒有直接挪用章回體。隨著故事的演進，盧、孟兩家人的日常起居，男女情事一一涌到前臺。他們沒有生活在令人羨慕的太平盛世，外族的入侵，紛擾的內戰奏響了全書驚惶不安的主基調，在數十年的風雲中，讀者目睹了老舊世家的衰敗沉淪，新一代的成長崛起，傳統禮俗的沒落變異。其間對世事輪替的悲愴之情，正如魯迅評說《紅樓夢》所言，披罩上“悲涼之霧，遍披華林”的色調。人生如夢，年命如朝露，如斷線的風箏，在紛亂的大時代，人們更是無法把握自己的命運。顯而易見，作者投注了深切的緬懷來書寫民國，由於家族史實的嵌入，感情變得格外強烈。</p> <p>　　可是，在濃烈的情感裏，似乎也有不盡如人意之處。作者以古典世情小說為藍本，耗時七載，完成了這部描摹民國的“清明上河圖”。然而，在他精細的文字雕刻裏，那些人物和場景大多給人似曾相識之感，少有耳目一新、豁然開朗的驚喜。我們當然不能要求作者事事創新，在小說裏讀者還是能感觸到幾度被損毀而中斷的古典氣息，浸潤其中，能增強自身文化的認同感。但與此同時，作者也從某個角度逼近了世情小說的極限：新文學產生近百年，大量接受外來文學的影響後，作者呼應著復興傳統的思潮，採取向後看的姿態，有意無意地略去20世紀文學創作的業績，刻意模擬古典的小說做派。應該承認，精雕細琢取得了不小的成功，但人工斧鑿的痕跡卻也歷歷可見。此外，全書篇幅浩大，但男主人公盧文笙的精神成長只畫了個輪廓，並沒被完整呈現。相比之下，倒是馮家仁玨、仁楨姐妹的形象更為鮮明、透辟。究其原委，和舊體詩詞一樣，古典世情小說的框架和體式，難以承載現代人豐富駁雜的內心世界，也無法與當代生活有效對話。與巴金錶現舊家族衰敗的“激流三部曲”相比，《北鳶》的這一局限更為明顯，儘管“激流三部曲”也有直露淺白的缺陷，但對年輕一代人精神世界的展示卻遠為豐富和飽滿。</p> <p>　　（作者為復旦大學中文系教授、作家）</p></div> <p class="editor">[責任編輯：楊真斌]</p> </div> <div class="page"> <script type="text/javascript"> createPageHTML(1, 0, "t20161214_11652212", "htm"); 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