四民社会的解体与茅盾的“农村三部曲”

The Disintegration of the Four-Class Society and Mao Dun’s" Countryside Trilogy"

茅盾的“农村三部曲”以“农”的视角呈现了士农工商构成的四民社会在中国被动现代化进程中逐步解体的生存样态。茅盾并未像同时期的左翼作家那样将“士”“商”作为“农”“工”的对立面,而是展现了士农工商共同面对外部势力冲击和内部秩序消亡的社会现实。茅盾还将原本只局限于精英阶层的代际冲突书写下沉至农民家庭,塑造了老通宝和多多头这样一对之后被中国当代文学农村题材小说广泛借鉴的父子形象。茅盾的“农村三部曲”一改将乡土作为文化隐喻或政治场域的叙事模式,把乡村当作一种带有世俗日常色彩的实体性存在加以表现,提供了一种全新、有效的农村生活书写范式。

Mao Dun’s“Countryside Trilogy”presents the gradually disintegrated existence state of the four-class society composed of scholars,farmers,handicraftsmen and merchants in the process of passive modernization in China from the perspective of farmers.Mao Dun did not regard“scholars”and“merchants”as the opposite of“farmers”and“handicraftsmen”like the left-wing writers of the same period,but showed the social reality that the scholars,farmers,handicraftsmen and merchants jointly face the impact of external forces and the demise of internal order.Mao Dun also wrote about the intergenerational conflict that was originally limited to the elite class,and extended it to the peasant class.Mao Dun portrayed the character image of father and son,such as Laotongbao and Duoduotou,which were later used for reference by the country-subject matter novels in contemporary Chinese literature.Mao Dun’s “Countryside Trilogy”has changed the narrative pattern that shapes the countryside into a cultural metaphor or political field,and expresses the countryside as a substantive existence with mundane everyday colors,providing a new and effective writing paradigm of countryside life.