汨罗:韩少功“文学的根”

Miluo:the Literary Root of HAN Shaogong’s Works

汨罗是韩少功的"文学的根",作家以丰富的创作建构了文学中的汨罗世界,文本中流露的情感倾向和对汨罗地域文化的态度转变,值得我们给予充分的关注。在"文化寻根"热潮中,汨罗一度成为国民劣根性批判的对象,但是这种"远距离"的观照,"文化外来户"的凌空蹈虚的想象性书写,事实上已经给作为被书写对象的地域内外的人们造成了"伤害"或者"侵犯"。直到马桥的出现,作家对于汨罗才有了"静观"的欣赏与流连,而八溪峒的一切具有无比鲜活的生命力,万物生长,村民和谐,在低调进取的"次优主义"观念的指引下,韩少功以这种返璞归真的书写,寄托一个城市知识分子的无边乡愁,成功地实现了从国民性批判向贴近大地农村的写作转型,八溪峒的地域性意义亦由此凸显,备受瞩目。从批判到静观,再到情感寄托之所,汨罗是韩少功创作史上的重要情感驿站,对于当代创作不无启思性价值。

Miluo is HAN Shaogong’s“literary root”.This writer constructs the Miluo world in literature with his rich creations.The emotional tendency revealed in the text and the change of attitude towards Miluo regional culture deserve our full attention.In the upsurge of“cultural root search”,Miluo once became the object of national criticism of bad habits,but this“distant”observation,“cultural outsiders”imagination writing,in fact,has caused“harm”or“infringement”to people inside and outside the region as the object of writing.It was not until the appearance of Maqiao that the writer had a“quiet view”appreciation and linger in Miluo.However,everything in Baxiadong is full of vitality.Everything grows and the villagers are in harmony.Under the guidance of the concept of“suboptimalism”,HAN Shaogong successfully realizes the transition from national criticism to writing close to the land and rural areas with this kind of writing back to nature,expressing the boundless homesickness of an urban intellectual.The regional significance of Baxiadong has been highlighted and attracted much attention.From criticism to contemplation,and then to the place of emotional sustenance,Miluo is an important emotional post in the history of Han Shaogong’s creation,which is of enlighting value for contemporary creation.