错位的问与答——透过显克微支《炭画》看鲁迅“祝福”

波兰作家显克微支《炭画》对鲁迅“祝福”有深刻影响,但“祝福”与《炭画》的核心细节存在着明显错位。祥林嫂之问关乎死后,但她只能求助于并不关心死后的年轻读书人“我”。《炭画》女主人公玛利萨之问重在目前,但她求助的乃是只能许诺她死后如何的年轻神父。同样答非所问,显克微支关心被侮辱与被损害者的现实权益,鲁迅则更在乎同一人群灵魂深处的痛苦。以《炭画》为参照,可以更清楚地显明鲁迅如何反省他本人在终极关怀上的矛盾心理以及“五四”一代知识分子与底层民众之间的精神隔膜。

Polish writer H.Sienkiewitz's Charcoal Sketches had profound influenced on Luxun's“Benediction”.However,there is a clear misalignment between the core details of the two works.Sister Xianglin paid attention to the afterlife,but she asked for help from a young intellectual who did not care about the afterlife;while the heroin of Charcoal Sketches is concerned about the immediate,but she turned to the young priest who promised her what would happen after her death.Sienkiewitz cared about the real right of the injured people but Luxun cared about their sufferings in soul.Taking Charcoal Sketches as a reference,we can realize more clearly Luxun's inner contradiction about the ultimate care and the lack of mutual understanding between intellectuals of May Fourth generation and the underclass.