“春秋笔法”是最富有中国本土精神的理论范畴，包括写什么（笔），不写什么（削），怎么写（“微而显，志而晦，婉而成章，尽而不汙”），写作目的是什么（“惩恶而劝善”）。本书第一次梳理出“春秋笔法”立于经学，成于史学，彰显于文学的发展轨迹，并对其由经及史、由史及文嬗变中的文学文化现象加以阐述。认为《春秋》“五例”是“春秋笔法”的基本内涵，其社会功利价值表现为惩恶劝善的思想原则与法度，其审美价值表现为微婉隐晦的修辞原则与方法。经法、史法与文法是“春秋笔法”的外延：经法求善，史法求真，文法求美。尚简用晦是“春秋笔法”的本质特征，意在追求“一字定褒贬”的美刺效果。“春秋笔法”与诗史关系，一方面是诗具史笔，即“《诗》亡然后《春秋》作”，早期的《诗》充当了“史”的角色，是“全面的社会生活”；另一方面是史蕴诗心，即“《春秋》作而《诗》未亡”，尚简用晦的“春秋笔法”是源于“诗三百”的比兴寄托手法和美刺褒贬精神在史书写作中的拓展和延伸，与赋比兴有明显的对应关系。今文家以“《春秋》无达辞”为前提，在笔削之间阐释《春秋》“微言大义”和褒贬书法，本质上是《春秋》文本与今文家之间的“视界融合”，表明《春秋》经典的可阐释性和阐释的无限性。“史迁笔法”继承孔子“春秋笔法”，从一字定褒贬的修辞层面拓展到《史记》“五体”结构、人物传记，细节叙事等方面，表现在寓论断于序事，藏美刺于互见和定褒贬于论赞等方面，成为后代史书撰写之轨范。“春秋笔法”作为文学叙述方法对后代诗文、小说创作产生了重要影响。诗文方面，杜甫诗善陈时事，推见至隐，沉郁顿挫，褒贬自现的“诗史”特征，白居易讽谕诗即事作断，卒章显志和人物叙事的手法，都是对“春秋笔法”的沿用。韩柳古文在“辞令褒贬”上多采用“尽而不汙”的笔法，在“导扬讽谕”上多采用“委婉隐晦”的笔法，也得益于“春秋笔法”。“春秋笔法”对小说创作的影响表现在作者与视角、结构与寓意、修辞与技巧三个层面。作者的“微言大义”、美刺褒贬是通过叙述者的介入和叙事视角的切入来实现的，不能抛开作者来谈小说叙事，这是中国叙事学不同于西方叙事学之处。中国六大古典小说的叙事结构大致可分为“缀段式”和“网状式”两种，但都以“纪传式”为基础。这一结构特色使作家能更加自觉地运用“春秋笔法”寄寓褒贬之义。古代小说最基本的叙事手法是“春秋笔法”，表现为露珠映日、一叶知秋，草蛇灰线、绵针泥刺，曲笔回护、褒贬有度，明镜照物、妍媸毕露。总体特征是文约意丰，委婉多讽。如果把小说叙事比为大树，那么作者与视角是根，结构与寓意是干，修辞与技巧是满树的枝叶和缤纷的花朵，“春秋笔法”则贯穿其中。儒家文化是用诗性话语来表达的。“易”之象、“诗”之兴和“史”之笔构成了儒家文化诗性话语的三种表达模式。其中易象用以寓理，诗兴用以抒情，史笔用以叙事。易象所蕴含的道理是宗教的哲学的，但表达方式是文学的象征的，《周易》以“立象尽意”的方式传达出对世界的诗意解读，易象就成为隐含《周易》易理的诗性载体；诗之兴经历了从祭祀之兴到政教之兴再到诗学之兴演变历程。祭祀之兴是隐喻是象征，政教之兴是美刺是寄托，诗学之兴是言有尽而意无穷；“史”之笔特指“春秋笔法”。《春秋》所开创的约言示义的记事方法，被《左传》《国语》《史记》等继承并发展，逐渐成为中国叙事文体的基本手法和批评范畴，形成了中国叙事文学的“春秋笔法”传统。因此，“春秋笔法”是中国叙事文学的话语表达方式，是中国叙事学的基本特征，体现了中国人的叙事智慧。关键词：春秋笔法 属辞比事 尚简用晦 美刺褒贬 叙事话语

"Spring and Autumn Brushwork" is the theoretical category that is most rich in the local Chinese spirit, including what to write (pen), what not to write (cut), how to write ("small and obvious, aspirant and obscure, tactful into chapters, exhaustive without pollution"), and what is the purpose of writing ("punishing evil and exhorting good"). For the first time, this book sorts out the "Spring and Autumn Brushwork" based on the study of scripture, becomes in historiography, highlights the development trajectory of literature, and expounds its literary and cultural phenomena in the transformation from scripture and history, from history and literature. It is believed that the "five cases" of "Spring and Autumn" are the basic connotation of "Spring and Autumn brushwork", and its social utilitarian value is manifested as the ideological principles and laws of punishing evil and promoting good, and its aesthetic value is manifested as subtle and obscure rhetorical principles and methods. Jingfa, historical law and grammar are extensions of the "Spring and Autumn Brushwork": the scripture seeks goodness, the historical law seeks truth, and the grammar seeks beauty. Shang Jian's use of obscurity is the essential feature of the "Spring and Autumn Brushwork", which is intended to pursue the beauty effect of "one character to praise and disparage". The relationship between "Spring and Autumn Brushwork" and poetic history, on the one hand, is the historical writing of poetry, that is, "the death of "Poem" and then the composition of "Spring and Autumn", and the early "Poem" played the role of "history" and was "comprehensive social life"; On the other hand, there is the epic poetic heart, that is, "Spring and Autumn" was composed and "Poem" is not dead", and Shang Jian's obscure "Spring and Autumn Brushwork" is derived from the "Three Hundred Poems" Bixing sustenance technique and the expansion and extension of the beautiful praise and disparagement spirit in the writing of history books, which has an obvious correspondence with Fu Bixing. Based on the premise that "Spring and Autumn has no words", Jinwen Jia interprets the "small words" and praise and disparagement of calligraphy between brushstrokes, which is essentially the "horizon fusion" between the text of Spring and Autumn and Jinwenjia, indicating the interpretability of the Spring and Autumn classics and the infinity of interpretation. The "Shiqian Brushwork" inherits Confucius's "Spring and Autumn Brushwork", and expands from the rhetorical level of one-character definite praise and disparagement to the "five-body" structure, character biography, detailed narrative and other aspects of the "Shiji", which is manifested in allegorical judgment in preface, Tibetan and American prick in mutual meeting, and definite praise and disparagement in praise, etc., which has become the model for the writing of future generations of history books. As a literary narrative method, the "Spring and Autumn Brushwork" has had an important impact on the creation of poetry and novels for future generations. In terms of poetry, Du Fu's poetry is good at current affairs, deducing the hidden and depressed, praising and disparaging the characteristics of "poetic history", Bai Juyi's satirical poetry is to make judgments, and the techniques of pawn Zhang Xianzhi and character narrative are all the use of the "Spring and Autumn brushwork". Han Liuguwen mostly adopts the brushwork of "exhaustion and not obscenity" in "praise and disparagement", and the brushwork of "euphemism and obscurity" in "guiding and satirizing", which also benefits from the "Spring and Autumn brushwork". The influence of "Spring and Autumn Brushwork" on the creation of novels is manifested in three levels: author and perspective, structure and meaning, rhetoric and technique. The author's "small words" and beautiful praise and disapproval are achieved through the intervention of the narrator and the entry of the narrative perspective, and the author cannot be left to talk about the narrative of the novel, which is the difference between Chinese narratology and Western narratology. The narrative structure of the six classical Chinese novels can be roughly divided into two types: "embellishment" and "net", but they are all based on "chronicle style". This structural feature allows writers to more consciously use the "Spring and Autumn Brushwork" to convey the meaning of praise and disapproval. The most basic narrative technique of ancient novels is the "Spring and Autumn Brushwork", which is manifested as dew drops reflecting the sun, a leaf knowing autumn, grass snake gray thread, cotton needle mud thorns, curved brush protection, praise and disparagement, mirrors shining objects, and Yan wife Bilu. The overall characteristic is that it is rich in text and euphemism. If the narrative of the novel is compared to a big tree, then the author and perspective are the roots, the structure and meaning are the stems, the rhetoric and technique are the branches and leaves of the tree and the colorful flowers, and the "Spring and Autumn Brushwork" runs through it. Confucian culture is expressed in poetic terms. The image of "Yi", the rise of "poetry" and the pen of "history" constitute the three modes of expression of the poetic discourse of Confucian culture. Among them, Yixiang is used for allegory, poetry is used for lyricism, and historical writing is used for narrative. The truth contained in Yi Xiang is religious and philosophical, but the expression is symbolic of literature, and "Zhou Yi" conveys a poetic interpretation of the world in the way of "standing with full intention", and Yi Xiang becomes a poetic carrier that implies the Yi Li of "Zhou Yi"; The rise of poetry has evolved from the prosperity of sacrifice to the prosperity of politics and religion and then to the rise of poetics. The joy of sacrifice is a metaphor and a symbol, the joy of politics and religion is a beautiful thorn and sustenance, and the joy of poetry is endless words and endless meanings; The pen of "history" refers specifically to the "spring and autumn brushwork". The method of recording the meaning of the covenant pioneered by "Spring and Autumn" was inherited and developed by "Zuo Chuan", "Chinese" and "Shiji", and gradually became the basic technique and criticism category of Chinese narrative style, forming the "Spring and Autumn brushwork" tradition of Chinese narrative literature. Therefore, the "Spring and Autumn Brushwork" is the discursive expression of Chinese narrative literature, the basic feature of Chinese narratology, and embodies the narrative wisdom of Chinese. Keywords: Spring and Autumn Brushwork Words Compare Things Shang Jian with obscure beauty praise and disparage Narrative discourse（AI翻译）