从《自由魂》发现“革命新女性”--秋瑾“本来面目”探源

Discovering“Revolutionary New Women”from Soul of Freedom--Exploring the Origin of Qiu Jin’s“True Face”

在历史剧《自由魂》中,夏衍打破了“失事”与“求似”之间的均衡,造成秋瑾形象的“失真”。专业批评意见不断质疑秋瑾造像的真实性,挑战夏衍的“真实”标准。夏衍接受并践行了菊池宽的“实在性格”理论,通过鲜明的无产阶级观念、国族意识与牺牲意志来凸显秋瑾的雄性气概,使秋瑾戴上了“革命新女性”的面具,同时也消泯了她作为女性的真实生命体验。夏衍从倍倍尔的《妇人与社会》一书获取了“新女性”的模板,将斯巴达女性与左联烈士冯铿作为秋瑾“本来面目”的现实参照,但经过“律法”的剪裁与重塑后,斯巴达女性、冯铿与秋瑾都丧失了“另一副面孔”。“失事”与“求似”之间的失衡,造成了历史人物叙事的内在困境。

In the historical drama Soul of Freedom,Xia Yan breaks the balance between“accident”and“seeking similarity”,causing distortion in the image of Qiu Jin.Professional criticism constantly questions the authenticity of Qiu Jin’s statue and challenges Xia Yan’s“authenticity”standard.Xia Yan accepted and practiced Kikuchi Kan’s theory of“real character”,highlighting Qiu Jin’s mas⁃culinity through his distinct proletarian concept,national consciousness,and sacrificial will.Qiu Jin put on the mask of a“revolution⁃ary new woman”and also extinguished the true life experience of women.Xia Yan obtained a template for“new women”from Beibeier’s book Women and Society,using Spartan women and the martyr of the Left Alliance,Feng Keng,as a realistic reference for Qiu Jin’s“true face”.Through the cutting and reshaping of“law”,Spartan women,Feng Keng,and Qiu Jin all lost their“other faces”.The imbal⁃ance between“things”and“resemblance”creates an inherent dilemma in the narrative of historical figures.