摘要
《檀香刑》自诞生起就引起不同的批评声音，它的其实已经充分展开着的复杂性、深刻性以及与之相应的艺术上的创造性，对于我们已有的艺术观念和理解手段的确构成了巨大的挑战。《檀香刑》的人物设置和情节安排让我们看到作者采取了“六经注我”的“历史”叙述策略，并通过“龙椅”“佛珠”“骨头”赏赐等情节安排寓言式地将历史批判不仅指向了“看得见的黑手”，而且指向了直至包括最高统治者个人在内的身处上层、操纵着历史的“看不见的白手”；表达了作者深刻的历史批判意识，显示了历史作为残忍、专制的统治者操纵的肮脏的特殊“食物链”的事实。《檀香刑》和它的作者决意不做含糊其辞的欺软怕硬者或糊里糊涂的好好先生，而且道出了统治者以残忍的方式所操控的“历史”的实质和秘密!
Sandalwood Death has caused different criticism since its publishment. Although its complexity, profundity and corresponding artistic creativity, which have already been fully showed, have posed big challenges for our established concepts of art and means of understanding. Its arrangement of characters and plots show that the author took a special narrative strategy, which is ＂To Take the Six Classics as the Footnotes of my Viewpoint＂ . Together with the design of plots, such as ＂Dragon Chair＂ , ＂Buddha Pearl＂ , ＂Bone＂ , and ＂Reward＂ , the historical criticism allegorically points to both the ＂visible illegal hands＂ , and the ＂invisible legal hands＂ , which manipulate the history and belong to the upper classes, including even the highest rulers. It expresses the author＇s profound historical and critical consciousness, and shows the fact that history is a dirty and special ＂food chain＂ which is manipulated by the cruel and tyrannical rulers. Sandalwood Death and its author are determined not to act like the muddleheaded yes-man or the evasive person who bully the weak and fear the strong. Furthermore, they reveal the essence and secret that the rulers manipulate the history in a brutal way.
关键词
《檀香刑》
莫言
人物设置
“六经注我”
情节设置
寓言
Death
Mo Yah
The Arrangement of Characters
＂To Take the Six Classics as the Footnotes of my Viewpoint＂
The Design of Plot
Allegory
