文学现代性的两副面孔——论巴金《憩园》和张爱玲《沉香屑·第一炉香》的文学史意义

The Two Faces of Literary Modernity: On the Significance of Literature History of Bajin's Qiyuan and Eileen Chang's The Fragments of Agalloch Eaglewood: First Incense

巴金和张爱玲的小说在现代文学现代性表达上呈现出两副面孔,以《憩园》和《沉香屑·第一炉香》为例,同样表现异化,如果说巴金以精神抵抗财富,批判了封建大家庭对个体的控制和对人性的腐蚀,急欲让主人公走出来,那么张爱玲则让精神屈从生活,顺应了梁家的人格异化,静观主人公走进去;如果说杨梦痴陷入无地自由的困境,那葛薇龙则显示出逃避自由的倾向;如果以"五四"新文学传统为参照,那么可以看到,巴金在《憩园》中依然恪守着个人本位取代家族本位的启蒙现代性,而张爱玲则从《沉香屑·第一炉香》就显示出新的方向,选择放弃个人自由,加入资本主义式的利益交换关系之中。

Bajin＇s and Eileen Chang＇s novels show two faces contrasted sharply in modernity of modem literature. Take Qiyuan and The Fragments ofAgalloch Eaglewood： First Incense as the case, which presents the same subject of alienation, Bajin resists wealth by spirit, criticizes the feudal family which controls the individuals and corrodes their personalities, and therefore hurries to make them out of the door. While Eileen Chang makes spirit yield to living, lets the character comply with alienation made by Family Liang, and keeps silence to character＇s choice; Yang Laosan falls in the dilemma of unconditional freedom, while Ge Weilong shows an inclination of escaping freedom. In contrasting with the history of May Fourth new literature, we can see that Bajin observes the enlightenment modernity which includes individual takes the place of feudal family, while Eilleen Chang shows a new inclination from The Fragments of Agalloch Eaglewood that the character would rather give up freedom and join in the capitalism exchange relationship of interests.