从茅盾佚作看旧体诗词与现代小说创作精神历程的互渗关系

Mao Dun’s Mental Process in the Writing of Modern Novel:from a Perspective of a Lost Poem in Classical Style

茅盾的“新疆杂咏”诗原有五首,而各种诗文集仅收录四首。其中一首之所以成为佚作,与盛世才在新疆的特务统治历史相关,而这同时也构成了对茅盾小说《子夜》主题误读的原因之一。以往研究未能发现此问题,既源于对具体史实了解不足,更显示了中国现代旧体诗词批评缺乏一种与新文学创作互渗的关联视野,不足以解读二者在作家精神历程层面的复杂关系。这种视野缺失导致现代旧体诗词研究难以有效融入现代文学研究的具体语境。

Mao Dun’s“Xingjiang Poems”originally consisted of five poems,but only four were included in various poetry collections.One of the original five poems is lost because of the history of Sheng Shicai’s reign of terror in Xinjiang,from which the cause of the misreading of Mao Dun’novel Midnight could be seen.The failure of previous studies to identify this problem stems from a lack of understanding of specific historical facts,but also shows that modern Chinese classical style poetry criticism lacks a vision of interpenetration with new literary creation,and is insufficient to decipher the complex relationship between the two at the level of the writer’s spiritual journey.This lack of vision makes it difficult to effectively integrate the study of modern classical style poetry into the specific context of modern literary studies.