精神家园的回归与自由自在的童真——从小说美学角度论《社戏》的真善美之境

A Return to the Spiritual Home and Unconstrained Innocence——On the Truth,Good and Beauty in Village Opera from the Perspective of Fictional Aesthetics

《社戏》之美,美在心灵的纯净、自然的人性,美在诗情画意的故乡风景;还美在行文的流畅、文字的纯厚感人。《社戏》作为情式表述为实,作为故事叙述是虚,"第一人称"叙述在文中起到的是"亦实亦虚","虚实相间"的作用。鲁迅在《社戏》中,发掘了人性的闪光点,尤其是赞美了儿童心灵的纯真与高洁。这与鲁迅一贯喜爱儿童的观点是一致的。无论从结构还是叙述,《社戏》使我们感受到了一股温馨的真善美之境。从几个小说美学的角度(例如,叙述的第一人称、结构的时空设置、人物性格的描述、语言的特色等)对《社戏》文本进行美学解读,可加深我们对鲁迅作品的真善美之境的理解。

The Beauty of Village Opera lies in a pure heart, natural humanity, beautiful home- town landscape, smooth and moving words. Village Opera is true as an emotional expression and it is fictional as a narrative of stories. The first-person narration creates a literary effect that is either actu- al or fictional, or combines the actual and the fictional. In Village Opera, Lu Xun explores the shining point in human nature, and especially praises the innocence and virtuousness of children＇s hearts, which is in accordance with Lu Xun＇s consistent love for children. We feel the truth, the good and the beauty in Village Opera from both its structure and its narration. To read the story from several aes- thetic perspectives, such as the first-person narration, time and space setting of the structure, por- trayal of characters and language features, will deepen our understanding the realm of the truth, the good and the beauty created in Lu Xun＇s works.