安徒生与叶圣陶童话创作之比较
摘要
五四新文化时期,西方童话作品大量译介到中国,这些童话作品不仅满足了当时儿童对文学爱好的需要,也在中国文人面前展示了一个充满瑰丽色彩和异域情调的新天地,为作家们进行新的儿童文学,尤其是童话创作提供了最初可供借鉴的理想范式。开创我国文学童话创作先河的叶圣陶受西方童话,尤其受安徒生童话的影响,创作出具有独特民族风格的童话,为我国童话的发展打下了坚实的基础。比较分析叶圣陶童话与安徒生童话,有助于全面认识叶圣陶童话的艺术特色,揭示其对外来文艺形式继承与超越的探求路径,以期给后来者有益的启示。
从影响比较研究的角度看,叶圣陶童话始于对西方艺术童话的模仿与借鉴,尤其受益于安徒生童话的艺术。在安徒生童话的影响下,叶圣陶首开我国文学童话创作先河,走出了属于自己的童话创作道路。在童话内容上表现出对童心世界的热情歌颂和真诚护卫,着力描绘儿童世界的纯真浪漫和梦幻般优美的大自然,表现的是温馨的爱的主题。在对社会现实的关照上,叶圣陶同安徒生一样遵循求真的审美指向,不由自主地在童话作品中叙述现实的人生,展现其悲剧艺术。
然而,叶圣陶童话又显然不同于安徒生童话。安徒生与叶圣陶在对待民间文化上有着明显的差异:安徒生童话是在复述和改编民间传说故事的基础上形成,并通过他“天才自由的应用、转变和崇高化”,然后注入现实生活的内容,注入新的时代气息,赋予它们完全崭新的意义,从而赋予民间文学以新的生命;而叶圣陶在观念上排斥神怪的质素,在文学传统上与民间传统隔膜,但基于对童话文体形式的揣摩,对儿童心理的了解,在童话创作实践中,他还是积极地借鉴,并不着痕迹地采用了中国民间故事的叙事模式。由于二者不同的人生理想及追求,安徒生在童话创作中表现出个人追寻理想、抒发自我感受的倾向,童话内容多带有自我象征意味;而叶圣陶更注重实现社会理想,在内容上注重表现童话的社会功能。
两位作家童话创作具有明显差异的原因是:从与传统文化的关系看,安徒生坚持的是民间原则,叶圣陶则遵循人文传统。从创作心理动机看,安徒生的创作激情来自内在的个人生活体验,体现的是创作主体的个体意识;叶圣陶的激情则更多的来自对群体生活的洞察和领悟,来自某种理性信念,较多体现出群体意识。
“5·4”new culture period, the large number of translations of works of Western fairy tales to China, these fairy tale works not only meet the then-loving children's literature needs, but also Chinese literati before a full display of rich colors and exotic atmosphere for a new vista for a new writers The children's literature, especially fairy tales provide the initial creation of the ideal paradigm for reference. Create a precedent of the literary fairy tale creation Ye Shengtao by Western fairy tales, especially the impact of Andersen's Fairy Tales, to create a unique national style fairy tale for our children's development and laid a solid foundation. Ye Shengtao's Fairy Tales and comparative analysis of Andersen's Fairy Tales, Fairy Tales contribute to a comprehensive understanding of the artistic characteristics of Ye Shengtao, revealed its foreign artistic forms inheritance and explore beyond the path, with a view to later generations of useful inspiration.
Comparative Study on the impact from the point of view of Ye Shengtao's fairy tale began on the western art imitate and learn from fairy tales, in particular benefit from the art of Andersen's Fairy Tales. Andersen's Fairy Tales in under the impact of China's Ye Shengtao the first literary fairy tale creative ground, out of the fairy tales of their own creation. Children's performance in the content of the heart to sing the praises of the world's warm and sincere security guards, to describe the world's children pure romantic fantasy and the beautiful nature, warm performance is the theme of love. In the care of social reality, Ye Shengtao with Andersen followed the same aesthetic point of seeking truth, can not help but work in the fairy tale described in the practical life, and demonstrate its tragic art.
However, Ye Shengtao's fairy tale obviously different from Andersen's Fairy Tales. Andersen and Ye Shengtao in dealing with civil culture there is a clear difference: Andersen's Fairy Tales in the repeat and adaptation folklore formed on the basis of the story and, through him, "genius to the application of changes and noble", and then In real life into the content, add new flavor of the times, they give a whole new meaning, and folklore to give new life and the concept of exclusion Ye Shengtao Shenguai in the quality of the literary tradition with the traditional divide However, based on fairy-tale style form of figure out where the child psychological understanding of children's creativity in the practice, he was still actively drawing, and Buzhaogenji use of the Chinese folk tale narrative mode. Because the two different ideals and the pursuit of life, Andersen's fairy tales in the creation of a personal pursuit of an ideal performance, to express the feelings of self-tendency, children's content with more self-symbolic significance, and Ye Shengtao pay more attention to the achievement of social ideals, and the contents focus on the performance of the social function of fairy tales.
Two fairy-tale writer with creative reasons for the difference is obvious: the relationship between culture and tradition, Andersen insisted that the principle of civil, Ye Shengtao then follow the traditional humanities. Creation from the psychological motivation, Andersen creative passion from the inner personal life experience, is embodied in the creation of the main individual consciousness; Ye Shengtao's passion is more of the groups from the insight and understanding of life, from some irrational beliefs, and more of a sense of community.
从影响比较研究的角度看,叶圣陶童话始于对西方艺术童话的模仿与借鉴,尤其受益于安徒生童话的艺术。在安徒生童话的影响下,叶圣陶首开我国文学童话创作先河,走出了属于自己的童话创作道路。在童话内容上表现出对童心世界的热情歌颂和真诚护卫,着力描绘儿童世界的纯真浪漫和梦幻般优美的大自然,表现的是温馨的爱的主题。在对社会现实的关照上,叶圣陶同安徒生一样遵循求真的审美指向,不由自主地在童话作品中叙述现实的人生,展现其悲剧艺术。
然而,叶圣陶童话又显然不同于安徒生童话。安徒生与叶圣陶在对待民间文化上有着明显的差异:安徒生童话是在复述和改编民间传说故事的基础上形成,并通过他“天才自由的应用、转变和崇高化”,然后注入现实生活的内容,注入新的时代气息,赋予它们完全崭新的意义,从而赋予民间文学以新的生命;而叶圣陶在观念上排斥神怪的质素,在文学传统上与民间传统隔膜,但基于对童话文体形式的揣摩,对儿童心理的了解,在童话创作实践中,他还是积极地借鉴,并不着痕迹地采用了中国民间故事的叙事模式。由于二者不同的人生理想及追求,安徒生在童话创作中表现出个人追寻理想、抒发自我感受的倾向,童话内容多带有自我象征意味;而叶圣陶更注重实现社会理想,在内容上注重表现童话的社会功能。
两位作家童话创作具有明显差异的原因是:从与传统文化的关系看,安徒生坚持的是民间原则,叶圣陶则遵循人文传统。从创作心理动机看,安徒生的创作激情来自内在的个人生活体验,体现的是创作主体的个体意识;叶圣陶的激情则更多的来自对群体生活的洞察和领悟,来自某种理性信念,较多体现出群体意识。
“5·4”new culture period, the large number of translations of works of Western fairy tales to China, these fairy tale works not only meet the then-loving children's literature needs, but also Chinese literati before a full display of rich colors and exotic atmosphere for a new vista for a new writers The children's literature, especially fairy tales provide the initial creation of the ideal paradigm for reference. Create a precedent of the literary fairy tale creation Ye Shengtao by Western fairy tales, especially the impact of Andersen's Fairy Tales, to create a unique national style fairy tale for our children's development and laid a solid foundation. Ye Shengtao's Fairy Tales and comparative analysis of Andersen's Fairy Tales, Fairy Tales contribute to a comprehensive understanding of the artistic characteristics of Ye Shengtao, revealed its foreign artistic forms inheritance and explore beyond the path, with a view to later generations of useful inspiration.
Comparative Study on the impact from the point of view of Ye Shengtao's fairy tale began on the western art imitate and learn from fairy tales, in particular benefit from the art of Andersen's Fairy Tales. Andersen's Fairy Tales in under the impact of China's Ye Shengtao the first literary fairy tale creative ground, out of the fairy tales of their own creation. Children's performance in the content of the heart to sing the praises of the world's warm and sincere security guards, to describe the world's children pure romantic fantasy and the beautiful nature, warm performance is the theme of love. In the care of social reality, Ye Shengtao with Andersen followed the same aesthetic point of seeking truth, can not help but work in the fairy tale described in the practical life, and demonstrate its tragic art.
However, Ye Shengtao's fairy tale obviously different from Andersen's Fairy Tales. Andersen and Ye Shengtao in dealing with civil culture there is a clear difference: Andersen's Fairy Tales in the repeat and adaptation folklore formed on the basis of the story and, through him, "genius to the application of changes and noble", and then In real life into the content, add new flavor of the times, they give a whole new meaning, and folklore to give new life and the concept of exclusion Ye Shengtao Shenguai in the quality of the literary tradition with the traditional divide However, based on fairy-tale style form of figure out where the child psychological understanding of children's creativity in the practice, he was still actively drawing, and Buzhaogenji use of the Chinese folk tale narrative mode. Because the two different ideals and the pursuit of life, Andersen's fairy tales in the creation of a personal pursuit of an ideal performance, to express the feelings of self-tendency, children's content with more self-symbolic significance, and Ye Shengtao pay more attention to the achievement of social ideals, and the contents focus on the performance of the social function of fairy tales.
Two fairy-tale writer with creative reasons for the difference is obvious: the relationship between culture and tradition, Andersen insisted that the principle of civil, Ye Shengtao then follow the traditional humanities. Creation from the psychological motivation, Andersen creative passion from the inner personal life experience, is embodied in the creation of the main individual consciousness; Ye Shengtao's passion is more of the groups from the insight and understanding of life, from some irrational beliefs, and more of a sense of community.
引文
[1]王泉根.序一[A].见:李红叶.安徒生童话的中国阐释[M].北京:中国和平出版社,2005:6.
[2]刘增人.叶圣陶传[M].南京:江苏文艺出版社,1995:19.
[3]周作人.随感录(二四)[J].新青年.第五卷第三期,1918.
[4]金玉燕.中国童话史[M].南京:江苏少年儿童出版社,1992:134.
[5]叶圣陶.我和儿童文学[A].见:韦商.叶圣陶和儿童文学[M].上海:上海少儿出版社,1990:1.
[6]王泉根.中国儿童文学的先驱[M].上海:上海文艺出版社,1987:26.
[7]鲁迅.表·译者序[A].见:王泉根.中国现代儿童文学文论选[C].南宁:广西人民出版社,1989:149.
[8]金玉燕.中国童话史[M].南京:江苏少年儿童出版社,1992:253.
[9]叶圣陶.文艺谈二十二[A].见:叶圣陶散文[M].北京:中国广播电视出版社,1997:59.
[10]郑振铎.稻草人·序[A].见:郑尔康等编.郑振铎和儿童文学[M].北京:中国少年儿童出版社,1982:34.
[11]郑振铎.稻草人·序[A].见:郑尔康等编.郑振铎和儿童文学[M].北京:中国少年儿童出版社,1982:35.
[12]商金林.叶圣陶传论[M].合肥:安徽教育出版社,1995:371.
[13][丹麦]安徒生.安徒生童话故事全集[M].林桦译.北京:中国少年儿童出版社,1995:20.
[14]王泉根.稻草人主义:中国现代儿童文学的美学精神[M].杭州:浙江师大学报 1990 年第 2 期
[15] 郑振铎.稻草人·序[A].见:郑尔康等编.郑振铎和儿童文学[M].北京:中国少年儿童出版社,1982:40.
[16]叶君健.鞋匠的儿子[M]. 北京:少年儿童出版社,1958:56.
[17]叶圣陶研究资料[M].上海:上海文艺出版社,1982:795.
[18]叶圣陶.叶圣陶散文(中)[M].中国广播出版社,1997:17—19.
[19]汤锐.现代儿童文学本体论[M].南京:江苏少年儿童出版社,1995:226.
[20]冰心.冰心儿童文学全集(下)[M].北京:中国少年儿童出版社,2000:405.
[21]班马.中国儿童文学理论批评与构想[M].武汉:湖北少年儿童出版社,1990:1.
[22]叶圣陶.叶圣陶散文(中)[M].北京:中国广播出版社,1997:75.
[23]冯友兰.中国哲学简史[M].北京:北京大学出版社,1996:7.
[24]鲁迅.鲁迅全集(第 9 卷)[M].北京:人民文学出版社,198I:21.
[25]胡适.胡适学术文集·中国文学史(上)[M].北京:中华书局出版社,1998:185.
[26]茅盾.茅盾说神话[M].上海:上海古籍出版社,1999:6.
[27]马克思、恩格斯.马克思恩格斯全集(第 2 卷)[M].北京:人民出版社,1995:114.
[28]马克思、恩格斯.马克思恩格斯全集(第 1 卷)[M].北京:人民出版社,1995:121.
[29]不列颠百科全书第一卷[M].北京:中国大百科全书出版社,1999:136.
[30][苏]伊·穆拉维约娃.安徒生传[M].马昌仪译.上海:上海文艺出版社,1981:180.
[31]王富仁.历史的沉思[M].西安:陕西人民出版社,1996:74.
[32]汪晖.汪晖自选集[M].桂林:广西师大出版社,1997:48.
[33]商金林.叶圣陶传论[M].合肥:安徽教育出版社,1995:79.
[34]朱自清.叶圣陶的短篇小说[A].见:《叶圣陶研究资料》[M].上海:上海文艺出版社,1982:411.
[35]叶圣陶.文艺谈之七[A].见:叶圣陶散文[M].北京:中国广播电视出版社,1997:15.
[36]叶圣陶.我和儿童文学[A].见:韦商.叶圣陶和儿童文学[M].上海:上海少儿出版社,1990:1.
[37]叶圣陶.我和儿童文学[A].见:叶圣陶散文[M].北京:中国广播电视出版社,1997:613.
[38]鲁迅.鲁迅全集(第 10 卷)[M].北京:人民文学出版社,1996:232.
[39]叶圣陶.叶圣陶散文[M].中国广播电视出版社,1997:563.
[40]周宪.超越文学[M].上海:上海三联书店,1997:55.
[41]曹文轩.曹文轩儿童文学论集[M].北京:21 世纪出版社,1998:5.
[42]胡适.胡适学术文集·中国文学史(上)[M].北京:北新书局,1928:155.
1.安徒生:安徒生童话选集[M],叶君健译,上海:译林出版社,1994.
2.安徒生:安徒生童话故事全集[M],林桦译,中国少年儿童出版社,1995.
3.叶圣陶:叶圣陶儿童文学全集[M],北京:中国少年儿童新闻出版总社、中国少年儿童出版社,2005.
4.叶君健:童话作家安徒生[M],上海:上海少年儿童出版社,1956.
5.安浦漫汀:徒生简论[M],成都:四川少年儿童出版社,1984.
6.小啦、约翰·迪米留斯主编:丹麦安徒生研究论文集[C],合肥:安徽少年儿童出版社,1999.
7.赵景深:童话评论[M],上海:上海新文化书社,1924.
8.王根泉:现代儿童文学的先驱[M],上海:上海文艺出版社,1987.
9.王根泉:中国现代儿童文学文论选[C],桂林:广西人民出版社,1989.
10.中国儿童文学论文选 1949—1989[C],杭州:浙江少年儿童出版社,1991.
11.金燕玉:中国童话史[M],南京:江苏少年儿童出版社,1992.
12.汤锐:北欧儿童文学述略[M],长沙:湖南少年儿童出版社,1999.
13.韦苇:外国童话史[M],武汉:湖北少年儿童出版社,2003.
14.李红叶:安徒生童话的中国阐释[M],北京:中国和平出版社,2005.
15.王根泉:中国安徒生研究一百年[C],北京:中国和平出版社,2005.
16.孙建江:飞翔的灵魂——安徒生经典童话解读[M],武汉:湖北少年儿童出版社,2003.
17.叶君健:安徒生名作欣赏[C],北京:中国和平出版社,1999.
[2]刘增人.叶圣陶传[M].南京:江苏文艺出版社,1995:19.
[3]周作人.随感录(二四)[J].新青年.第五卷第三期,1918.
[4]金玉燕.中国童话史[M].南京:江苏少年儿童出版社,1992:134.
[5]叶圣陶.我和儿童文学[A].见:韦商.叶圣陶和儿童文学[M].上海:上海少儿出版社,1990:1.
[6]王泉根.中国儿童文学的先驱[M].上海:上海文艺出版社,1987:26.
[7]鲁迅.表·译者序[A].见:王泉根.中国现代儿童文学文论选[C].南宁:广西人民出版社,1989:149.
[8]金玉燕.中国童话史[M].南京:江苏少年儿童出版社,1992:253.
[9]叶圣陶.文艺谈二十二[A].见:叶圣陶散文[M].北京:中国广播电视出版社,1997:59.
[10]郑振铎.稻草人·序[A].见:郑尔康等编.郑振铎和儿童文学[M].北京:中国少年儿童出版社,1982:34.
[11]郑振铎.稻草人·序[A].见:郑尔康等编.郑振铎和儿童文学[M].北京:中国少年儿童出版社,1982:35.
[12]商金林.叶圣陶传论[M].合肥:安徽教育出版社,1995:371.
[13][丹麦]安徒生.安徒生童话故事全集[M].林桦译.北京:中国少年儿童出版社,1995:20.
[14]王泉根.稻草人主义:中国现代儿童文学的美学精神[M].杭州:浙江师大学报 1990 年第 2 期
[15] 郑振铎.稻草人·序[A].见:郑尔康等编.郑振铎和儿童文学[M].北京:中国少年儿童出版社,1982:40.
[16]叶君健.鞋匠的儿子[M]. 北京:少年儿童出版社,1958:56.
[17]叶圣陶研究资料[M].上海:上海文艺出版社,1982:795.
[18]叶圣陶.叶圣陶散文(中)[M].中国广播出版社,1997:17—19.
[19]汤锐.现代儿童文学本体论[M].南京:江苏少年儿童出版社,1995:226.
[20]冰心.冰心儿童文学全集(下)[M].北京:中国少年儿童出版社,2000:405.
[21]班马.中国儿童文学理论批评与构想[M].武汉:湖北少年儿童出版社,1990:1.
[22]叶圣陶.叶圣陶散文(中)[M].北京:中国广播出版社,1997:75.
[23]冯友兰.中国哲学简史[M].北京:北京大学出版社,1996:7.
[24]鲁迅.鲁迅全集(第 9 卷)[M].北京:人民文学出版社,198I:21.
[25]胡适.胡适学术文集·中国文学史(上)[M].北京:中华书局出版社,1998:185.
[26]茅盾.茅盾说神话[M].上海:上海古籍出版社,1999:6.
[27]马克思、恩格斯.马克思恩格斯全集(第 2 卷)[M].北京:人民出版社,1995:114.
[28]马克思、恩格斯.马克思恩格斯全集(第 1 卷)[M].北京:人民出版社,1995:121.
[29]不列颠百科全书第一卷[M].北京:中国大百科全书出版社,1999:136.
[30][苏]伊·穆拉维约娃.安徒生传[M].马昌仪译.上海:上海文艺出版社,1981:180.
[31]王富仁.历史的沉思[M].西安:陕西人民出版社,1996:74.
[32]汪晖.汪晖自选集[M].桂林:广西师大出版社,1997:48.
[33]商金林.叶圣陶传论[M].合肥:安徽教育出版社,1995:79.
[34]朱自清.叶圣陶的短篇小说[A].见:《叶圣陶研究资料》[M].上海:上海文艺出版社,1982:411.
[35]叶圣陶.文艺谈之七[A].见:叶圣陶散文[M].北京:中国广播电视出版社,1997:15.
[36]叶圣陶.我和儿童文学[A].见:韦商.叶圣陶和儿童文学[M].上海:上海少儿出版社,1990:1.
[37]叶圣陶.我和儿童文学[A].见:叶圣陶散文[M].北京:中国广播电视出版社,1997:613.
[38]鲁迅.鲁迅全集(第 10 卷)[M].北京:人民文学出版社,1996:232.
[39]叶圣陶.叶圣陶散文[M].中国广播电视出版社,1997:563.
[40]周宪.超越文学[M].上海:上海三联书店,1997:55.
[41]曹文轩.曹文轩儿童文学论集[M].北京:21 世纪出版社,1998:5.
[42]胡适.胡适学术文集·中国文学史(上)[M].北京:北新书局,1928:155.
1.安徒生:安徒生童话选集[M],叶君健译,上海:译林出版社,1994.
2.安徒生:安徒生童话故事全集[M],林桦译,中国少年儿童出版社,1995.
3.叶圣陶:叶圣陶儿童文学全集[M],北京:中国少年儿童新闻出版总社、中国少年儿童出版社,2005.
4.叶君健:童话作家安徒生[M],上海:上海少年儿童出版社,1956.
5.安浦漫汀:徒生简论[M],成都:四川少年儿童出版社,1984.
6.小啦、约翰·迪米留斯主编:丹麦安徒生研究论文集[C],合肥:安徽少年儿童出版社,1999.
7.赵景深:童话评论[M],上海:上海新文化书社,1924.
8.王根泉:现代儿童文学的先驱[M],上海:上海文艺出版社,1987.
9.王根泉:中国现代儿童文学文论选[C],桂林:广西人民出版社,1989.
10.中国儿童文学论文选 1949—1989[C],杭州:浙江少年儿童出版社,1991.
11.金燕玉:中国童话史[M],南京:江苏少年儿童出版社,1992.
12.汤锐:北欧儿童文学述略[M],长沙:湖南少年儿童出版社,1999.
13.韦苇:外国童话史[M],武汉:湖北少年儿童出版社,2003.
14.李红叶:安徒生童话的中国阐释[M],北京:中国和平出版社,2005.
15.王根泉:中国安徒生研究一百年[C],北京:中国和平出版社,2005.
16.孙建江:飞翔的灵魂——安徒生经典童话解读[M],武汉:湖北少年儿童出版社,2003.
17.叶君健:安徒生名作欣赏[C],北京:中国和平出版社,1999.