格调既指风格,亦谓境界。法国作家布丰认为“风格即人”;同样,在黑格尔看来,风格是艺术表现过程中呈现的“人格特点”。劳马是作家,但也是科班出生的哲学家。他对艺术的理解并不停留在风格层面,他追求哲学高度,即精神升华,具体说来是通而不俗。这是一种境界,甚至可以说是一对矛盾,在喜剧创作中很难兼容。用我国艺文家刘勰的话说,“才有庸俊,气有刚柔,学有浅深,习有雅郑,并情性所铄,陶染所凝,是以笔区云谲,文苑波诡者矣”;喜剧极易滑入庸浅、通俗,而劳马的作品不是。他的小说堪称含泪的小品,而他的“喜剧”则让人笑并哭泣着。因此,他的“喜剧”是要加引号的,它们消解了喜剧和悲剧的界限。 Style refers to both style, also refers to the realm. In the same way, in the view of Hegel, style is the “personality trait” presented in the artistic performance. Rauma is a writer, but also a philosopher born in Coban. His understanding of the arts does not stop at the style level, he pursues the height of philosophy, that is, sublimation of spirit, in particular, is good and not bad. This is a state, or even a contradiction, that is hard to come by in a comedy. With the words of our country artist Liu Yong, “Only have junjun, gas has rigid and soft, learning shallow, learning Ya Zheng, and affectionate, Tao dye by condensate, is the pen area Yunpi, Wenyuan Witch carry on ”; comedy easily slip into the vulgar, popular, and Rauma’s work is not. His novel is a tearful sketch, and his “comedy” makes people laugh and cry. Therefore, his “comedy ” is quoted, and they eliminate the boundaries of comedy and tragedy.