从“道高一尺,魔高一丈”到“魔高一尺,道高一丈”——《红岩》第二稿的失败和第三稿的“翻身”

The Failure of the Second Draft of Hong Yan and the Success of Its Third Draft

革命文学建立革命合法性的一个重要表征手段是对革命的颠覆性异己因素——敌人的设置。但是,在不同的历史阶段,政治需要和意识形态要求却也有微妙的区别,在一个时期"合理"的叙述到了另一个时期就可能变成很不合适甚至"反动"的叙述,这就需要对叙事策略进行不断的调整。《红岩》作者们在写作《红岩》之前曾经对他们亲身经历过的集中营生活进行了多次不同形式的写作,这些作品的主要叙事策略是对敌人的反面形象进行夸饰性的描写,并以此来推进革命力量对反动势力的仇恨和完成对残余反动势力的清剿。《红岩》前两次稿的写作仍然沿用了这个曾经很有效果的叙事方法,但是却接连经历了痛苦的失败。经过复杂的逻辑转换过程,《红岩》作者们终于找到了符合意识形态更高要求的叙述敌人的方法,这就是把"道高一尺,魔高一丈"的逻辑改换成"魔高一尺,道高一丈"的逻辑。对这一革命文学常用"公式"的自觉运用,使得《红岩》的第三次修改稿取得了突破性的进展。

One important way for representing the legitimacy of revolution in revolutionary literature lies in the delineation of enemies--elements running counter to revolution. Nevertheless, in different historical phases, political needs may differ subtly from ideological demand, for the ＂rational＂ narration in one period might become inappropriate or even reactionary in another, thus strategies of narration need constant readjustment. Prior to their writing of Hong Yan, the authors have written more than once about their life and experiences in the concentration camp. The strategy of narration in those works lies mainly in the exaggerated description of the negative image of the enemies so as to further the hatred for the enemy and to complete the elimination of reactionary remnants. The first two drafts of Hong Yan have met successively with failure in that they were written in line with the once effective method of narration. After a complex process of logical transformation, the authors of Hong Yah have finally managed to employ a more appropriate and efficient means to delineate enemies, thus having ensured the drastic advancement and the success of the third draft of the novel.