从《绿野仙踪》看清中叶神怪小说世情化的得与失

清中叶神怪小说的创作走着世情化的路子。特别是代表作《绿野仙踪》，在题材处理上直接取用了现实题材；在人物塑造与结构处理上创造性地发展了《金瓶梅》的“冷热金针”法；在写法上达到了写虚的理性主宰与写实的剔挟入骨的艺术新高度，表现出较强的创新性。但情节处理上存在着游离性，情节切换上存在着生硬性，写虚与写实之间还存在着无法逾越的艺术距离。因而，它既给神怪小说的创新带来了成功的启示，也带来了失误与不足的借鉴。

On the Gain and Loss of Ways of the World of Mythology in the Middle of Qing Dynasty from Lu-Ye-Xian-Zong

Mythology in the middle of Qing Dynasty followed the road of ways of the world, especially its representative work Lu-Ye-Xian-Zong. It used real subject directly in dealing with the subject. It developed creatively the method of Leng-Re-Jin-Zhen of Jin-Ping-Mei in creating figures and dealing with structures. In writing method, it reached the height of art that wrote the non-essential. Reasonably dominating and writing the essential was incisive. It showed a strong creativity. But it was detaching in dealing with plots and was not polishing in exchanging plots, there was an insurmountable distance of art between writing the essential and the non-essential So it brought a successful enlightenment to creation of mythology, but on the other hand, it brought experience of fault and insufficiency for us to draw on.