我以为,困扰着《故事新编》研究的一个根本性的困难,就是我们一直未能找到一种与作品文本相契合的解说方式。已有的研究,一直是摇摆、徘徊于“历史文本”和“写实性文本”的解读方式之间,在我看来,这两种解读方式都有“盲人摸象”之失。我以为,构成《故事新编》最独特的审美方式就是想象力。所以,我们只有以与文本相契合的想象性的方式来解读它,才可能发现出其中所蕴含的丰富的艺术价值。 一旦我们用想象性的方式去解读《故事新编》时,也许就能发现许多相当有意思的现象:（一）《故事新编》的想象方式与《庄子》和上古神话极其神似,我把这种内在的关系称为“返祖现象”。这是基于我对中国小说发生学的一个基本认识,我以为,虽然小说在最初的发生学形态是处于一种自在状态,它对经、史、文集中的文体有过千丝万缕的依附’渗透和交叉,但是,就与小说文体发生最接近的渊源看,小说与子书,小说与神话,小说与史书的关系最为接近。我以为,前二者,对小说的影响最主要的是在于想象力方面。后者,则主要体现在叙事方式上。想象力对小说思维方式深刻的影响,在子书中最值得注 I think one of the fundamental difficulties plaguing the study of the story series is that we have not been able to find a way of commensurate with the text of the work. The existing research has always been swaying and wandering between the ways of interpreting “historical texts” and “realistic texts.” In my opinion, both methods of interpretation have the loss of “blind touch.” I think the most unique aesthetic way of making a new series of stories is imagination. Therefore, we can only discover the rich artistic value contained in it only by interpreting it in an imaginary way that is compatible with the text. When we interpret “new stories” in an imaginative way, we can find quite a few rather interesting phenomena: (1) The imagination of “new stories in the story” is extremely similar to that of “Chuang Tzu” and the ancient mythology, and I put this The inner relationship is called “return to ancestral phenomenon.” This is based on a basic understanding of the birth of Chinese novels, and I think although the novel’s initial form of learning was in a state of self-reliance, it was inextricably bound to the style of the classics, history and culture However, as far as the closest origin to fictional style is concerned, novels and e-books, novels and myths, fiction and history books are most closely related. I think the first two, the most important impact on the novel lies in the imagination. The latter is mainly reflected in the way of narrative. Imagination profound impact on the way of thinking of the novel, the most noteworthy in the book