在路上:漂泊、书信体写作与“杂文自觉”的风格扩张

On the Road:Exile,Correspondence as Genre and the Stylistic Expansion of Lu Xun’s“Becoming Conscious”of the Essay

在以《华盖集·题记》为标志的“杂文的自觉”之后,《华盖集续编》在文体、样式及美学方面呈现出更加繁复的多样性和试验性。与之相关的则是鲁迅1926年8月离开北京后,在上海-厦门-广州间的短暂的“漂泊”状态,这种状态指向一种重要的文学风格意义。以《华盖集续编》中的“通信系列”为线索,兼及鲁迅同时期其他书信写作,对鲁迅杂文在语汇、句子、风格和作者形象不同层面的风格扩张进行系统分析,可以看到,鲁迅此期间的杂文写作,在内心面向、审美自律和社会政治寓意指涉性上都呈现出一种高度内敛同时又高度外化甚至游戏化的倾向。这种写作法不仅是对漂泊或客居状态的描摹和派遣,或对此前“北京时期”遭际的回顾与反思,更是鲁迅文学内在能量与形式可能性的逻辑发展,也是它将自身现实批判兴趣和历史表现抱负收缩凝聚在高度个人化和“作者式”的杂文文体内在强度之内的技法淬炼。因此,鲁迅漂泊期的书信体写作,作为“路上杂文”,也可被视为鲁迅文学“第二次诞生”这一文学史事件的组成部分。在具体的鲁迅文学发展阶段论意义上,这个瞬间和文体实验行动也构成过渡期“杂文的自觉”同晚期“杂文的自由”之间的连接点和风格预演。

Following “ Preface to Inauspicious Star”(December 1925), which marks the moment of“ becoming conscious” of the essay, Sequel to Inauspicious Star, the collection of Lu Xun’ s essays of 1926,displays a heightened degree of complexity, diversity and experimentality in style, genre and aesthetics.Corresponding to this development is Lu Xun’s second “wandering years” through Xiamen, Guangzhou and Shanghai, during the time of which his essay production underwent a process of radical expansion at imagistic, syntactic, discursive and stylistic registers. By focusing on his letter writing of this period, this article analyzes a double-movement, namely, the withdrawal into inwardness and an external playfulness,which produces a new literary intensity in aesthetic autonomy and social allegory. By naming this transitional style of Lu Xun “the road essay”, the author seeks a critical entry point into examining the “second birth” of Lu Xun literature. By analyzing the poetic constitution of this group of letters from on the road, the author argues that they form a joint in the transition of Lu Xun’ s essay production from a state of “ selfconsciousness” to that of “freedom,” which is defined by its critical and representation engagement with history and politics.