《尘埃落定》与《秦腔》中的傻子形象比较论

Comparison of the Image of Fools in Dust Settlement and Qinqiang

傻子形象历来是文学作品中一个独特而醒目的存在,因其文本功能的多元和辩证而成为备受作家们青睐的书写对象。少数民族作家阿来和汉族作家贾平凹在他们的代表作品《尘埃落定》和《秦腔》中均不谋而合地塑造了傻子形象,一个是生活在藏地的傻子少爷,一个是游荡于清风街上的疯子引生,这两个傻子人物形象在作家的笔下傻得各异其趣。《尘埃落定》中的土司少爷与《秦腔》中的引生在身份地位、形象刻画、结局隐喻三个方面有着迥然不同的呈现,两者之间的差异恰是作者们对各自文化关注、思索和焦虑的展现,折射出他们对于生命存在、复杂人性与时代文化的深刻思考,傻子人物形象载体背后所指向的是共同的价值主题--对理性面纱下人类社会虚伪现实的揭露和讽刺。

The image of a fool has always been an unique and eye-catching existence in literary works. Because of its pluralistic and dialectical text functions, it has become a popular writing object by writers. A Lai, an ethnic minority writer, and Jia Pingwa, a Han writer, conspired to create the image of a fool in their representative works Dust Settlement and Qinqiang. One is a fool young master living in Tibet, and the other is a madman wandering on Qingfeng Street. These two stupid characters are very stupid under the writer’s pen. The young master toast in Dust Settlement and the introduction in Qinqiang have very different presentations in three aspects: identity status, image description and ending metaphor.The difference between the two is precisely the author’s attention, thinking and anxiety, which reflects their understanding of life existence, complex human nature and era culture. Deeply thinking, behind the image carrier of fools points to a common value theme--the disclosure and satire of the hypocritical reality of human society under the veil of reason.