再议陀思妥耶夫斯基“最高意义的现实主义”

Revisiting Dostoevsky’s “Supreme Realism”

陀思妥耶夫斯基致力于描摹人的精神,并提出自己的创作原则“最高的现实主义”,这扎根于作家视小说为“诗意的事业”的文学观。在创作实践中,作家不拘囿于现实主义的客观描摹性,格外重视情感和想象,着重揭示精神的“罪与病”状态,发掘精神的无限可能性。“最高的现实主义”因此融现实主义与浪漫主义于一身,达到超越表象真实、揭示精神内质的终极诉求。作家对精神和艺术的独特理解,使得“最高的现实主义”注目于揭示精神的深处和远方,因此书写精神的可能性、达成艺术之于生活的创造性成为“最高的现实主义”不可忽视的内涵,这也正是对精神与艺术的自由本质的最现实主义的回归。

Dostoevsky was dedicated to the depiction of human spirit and put forward his principle of creation—“supreme realism” which was rooted in his literary view that novels were “poetic undertakings”. However, Dostoevsky was not confined to objective realistic descriptions in his novel practice, but paid special attention to characters’ emotions and imaginations, focusing on revealing spiritual “sins and sicknesses” and exploring the infinite possibilities of spirit. Therefore, “supreme realism” integrates both realism and romanticism, reaching the ultimate goal of transcending the superficial truth and revealing the spiritual essence. Dostoevsky’s unique understanding of spirit and art made the revealing of spiritual in-depth and breath the focus of “supreme realism”. In view of this, portraying spiritual possibilities and achieving the creativity of art in life become the connotation of supreme realism that can not be ignored, an indication of the most realistic return to the free nature of spirit and art.