论文部分内容阅读
一写历史小说最难之处恐怕在于如何把握史实与艺术之关系。拘泥于史实,不免少了几分艺术神思的飞扬,有流为历史读物之虞;太凭想像,却又不免演成“戏说”一类,终无法让人信服。于史实与艺术之间左右逢源者,方为高手。《白门柳》堪称高手之建构。其所叙之事原,力求尽可能有出处;其所描之情状,却又无一处不漫射着艺术想像的光华。在明人的野史笔记《牧斋遗事》中写到柳如是劝钱牧斋不要降清,钱不从,“柳奋身欲沉池中,持之不得入。”寥寥12
How to grasp the relationship between historical facts and art? To rigidly adhere to the historical facts, it is inevitable that there will be few flying art deeds and the possibility of flowing books for historical reading. Too much imagination may inevitably lead to a class of “drama” that ultimately can not be convincing. In the historical facts and art between the source, who is master. “White Gate willow” called the construction of masters. The narrative of the original, sought to be as far as possible a source; the situation it describes, but no one does not diffuse the art of imagination Guanghua. In the Ming Dynasty’s unofficial history notes, “Pastoral vegetarianism,” wrote Liu Rushi advised Qianmuzhai do not pay off, the money does not, “Liu Fen Shen body sink, hold it into.” Few 12