从《韦护》的双重叙述看丁玲的创作转向

Transition of Ding Ling's Dual Narrative Writing in Wei Hu

作为丁玲创作转变期的重要作品,《韦护》隐含双重叙述的内在矛盾,隐藏于潜层叙述的"情"以其丰盈动人在很大程度上淹没了表层叙述的苍白的"理"。从丁玲这一时期的感情经历、人生境遇以及相关创作来看,现实中的感情与作品中的"情""理"存在复杂联系。在创作中无意识的投射流露和无保留的表白中,可见情感付出导致的精神依附与创作追随,这或可视为影响丁玲创作转向革命的因素之一,在情的对象远遁——胡也频牺牲,冯雪峰疏远之后,丁玲进一步投入对方精神信仰上所属的阵营。从某个角度说,《韦护》中爱人"远走"后收敛个性决心"好好做点事业"的丽嘉恰恰对丁玲日后的创作进行了一次隐喻与预演。

As an important piece in Ding Ling＇s writing transition period,＂Wei Hu＂implies inherent contradictions of dual narration. In some way,the emotion hidden in potential narration overwhelms the powerless superficial narration with its profusion and willingness. The emotion and reason have a complicated relationship with the writer ＇s sentiment in real life according to her experience and related writings in that period. Based on the feelings revealed unconsciously or frankly in her writings,a surmise about the transition in Ding＇s writing may be posed： attachment caused by sentiment pushed the writer to join in the faith group that the lost lovers belonged to. To some degree,Lijia in＂Wei Hu＂,who is decided to do some jobs after her lover left,just performs a rehearsal for Ding＇s future creation.