汪曾祺的创作不都是平淡儒雅的京派余风,还有六朝和晚明以来的志怪与录异的韵致。后者在他的笔记小说和戏曲作品里颇为明显。既暗袭聊斋笔意,又有现代主义的反讽意味,开辟了另类的先锋之路。作者以复古的方式介入当下生活,用非政治的笔墨表达内心的政治,在看似士大夫的雅趣里,也有诸多反士大夫的笔墨。作者晚年在剧本创作中的黑色幽默的对白以及戏谑之调,给新京派的审美意象带来了新意。 Wang Zengqi ’s creation is not all the mediocre Beijing style, but also the charm of the Six Dynasties and the Late Qing Dynasty. The latter is evident in his novels and dramas. Both dark strokes Zhai language meaning, but also the irony of modernism, opened up an alternative vanguard. The author intervened in the retro way of life now, with non-political pen and ink to express inner politics, in the seemingly scholar’s taste, there are many anti-scholar’s ink. The author’s later black-humorous dialogue and playful tone in script writing brought new ideas to the aesthetic image of the New Beijing School.