《文心雕龍》設問句修辭技巧探究

A Study of the Rhetorical Techniques of the Use of Interrogatives in "The Literary Heart and the Carving of Dragons" (Wen Hsin Diao Lung)

呂武志(Wu-Jyh Lyu)

《健行學報》 33卷1期 (2013/01) Pp. 35-46

摘要

本文根據修辭學「設問」的三種類型「懸問」、「激問」、「提問」，探討《文心雕龍》設問句的修辭技巧；可知劉勰該書有疑而問的「懸問」，其修辭作用是：取得認同的測度表達、難以苟同的婉轉策略；無疑而問的「激問」，其修辭作用是：標顯篇題名義、呼應篇章主旨、增加文章氣勢、收束強而有力；無疑而問的「提問」，其修辭作用是：凸顯作者創作觀、加強說理縝密性、深化論題延展度。據此，我們可以窺得劉勰在創作時靈活採取不同形式的設問口吻，並了解其中用意何在！綜觀《文心雕龍》全書五十篇，採用設問的比例相當高；也可證明營造文章波瀾、語氣懸宕起伏的設問方式為劉勰所青睞。根據統計：《文心雕龍》設問於篇首以激問及懸問為主；究其因，是一般激問語氣較強烈，可引起讀者的注意力；懸問語氣含蓄委婉，容易取得讀者認同。篇末則激問形式居多；從言談心理來看，激問的答案在問題的反面，表面的說解並非答案，真正的意涵是在反面；其懸宕的語氣，游移於一正一反之間，可以發人深省。贊曰用來總結全文，以懸問或激問形式，可營造餘波蕩漾、餘韻未盡的效果。觀《文心雕龍》懸問、激問、提問的使用情形，激問出現頻率最高，次為懸問，提問最少。可見文學創作中，作者常是心有定見、故意而問，目的乃在喚起讀者的注意。

關鍵字

文心雕龍 ； 修辭 ； 設問 ； 懸問 ； 激問 ； 提問

並列摘要

Based on the three types of interrogation in rhetoric, i.e., the suspended interrogative, the stimulated interrogative, and the hinted interrogative, this study attempts to investigate into the rhetorical techniques of The Literary Heart and the Carving of Dragons (Wen Hsin Diao Lung). By this we know that the rhetorical effect of the suspended interrogative is used to elicit expected consensus from the reader or, as a circumlocutory strategy, to convey the speaker's view on a certain controversial issue. The rhetorical effect of the stimulated interrogative is to highlight the meaning of the topic, to respond to the tenet of the piece of writing, to strengthen the persuasive power of it, and to conclude it effectively. The rhetorical effect of the hinted interrogative is to elucidate the creative view of the author, to strengthen the logicality of reasoning, and to widen the dimension of the topic. By this we know also how Liu Xie, author of the book, has successfully adopted different types of interrogation in his literary creation, and what he really means by it.Comprehensively, there is a relatively high frequency of using interrogation in the fifty chapters of The Literary Heart and the Carving of Dragons (Wen Hsin Diao Lung). This justifies that the use of interrogatives is favored by the author in order to create the climatic effect of writing. According to textual statistics, the book uses primarily the stimulated and the suspended interrogative at the beginnings of chapters. The reason for this is that the stimulated mode of interrogation has a strengthening effect, which attracts the attention of the reader right from the beginning, while the euphemistic effect of the suspended interrogative might easily evoke the consensus of the reader. At the ends of the chapters, however, it is the stimulated form of interrogation that is more often used. From the viewpoint of the psychology of discourse, the answer to the stimulated interrogative lies on the opposite side of the question: the superficial explanation is not the answer, whereas the real meaning is on the other side. The mood of suspension moves to and fro between the positive and the negative ends, which entails deeper thinking. It is believed that the use of the suspended and the stimulated interrogatives has the function of creating a ”rippling” or ”echoing” effect of writing. Of the three modes, the stimulated interrogative enjoys the highest frequency of occurrence throughout the book, next the suspended interrogative, and the hinted has the least. This justifies the hypothesis that in literary creation, the author often has already some fixed presuppositions about what he or she is to argue, and the purpose of asking seemingly unnecessary questions is mostly to draw the attention of the reader to the subject of discussion at hand.

並列關鍵字

The Literary Heart and the Carving of Dragons (Wen Hsin Diao Lung) ； rhetoric ； interrogation ； suspended interrogative ； stimulated interrogative ； hinted interrogative