“为人生”的文学——关于《呐喊》和《彷徨》的写作(二)

Literature"for Life"——On the Writing ofNahan and Fanghuang(Ⅱ)

鲁迅的小说创作一开始,就与以“娱乐、消闲”为主要目的和追求的通俗小说、大众文化区别开来。他指明,自己所写的是严肃的“为人生”的小说,这正是鲁迅所开创的“五四”新小说的最本质的特征。鲁迅所提倡并身体力行的“为人生的文学”,是真诚地、深入地、大胆地看取人生的,并且写出他的血和肉来的真的文学;是关注下层人民,着重揭示病态社会的人的精神病态的文学,是对现代中国人的灵魂的伟大拷问,而它最终指向的是绝望的反抗。作为一个无限丰富却又充满本体性的困惑的灵魂,鲁迅是在真实与说谎的矛盾的张力中来进行写作的。正是时时面对这样的写作的困境,就决定了鲁迅小说写作上的一系列的特点:本体性的隐喻性、“复调性”和音乐性。鲁迅在自评小说时,提出了一个审美标准:“从容”还是“逼促”。这是鲁迅的一个十分重要的美学观。

From the very beginning, Lu Xun' s novels have been distinct from those popular novels and public culture aiming at 'recreation' and 'amusement'; his novels have been serious and written 'for life', which is the most essential feature of the 'May 4th' new novels initiated by him. Advocated and implemented by Lu Xun, the literature 'for life' is a genuine literature reflecting his true self as well as perceiving life sincerely, profoundly and directly, concerned with people of lower social status and focused on revealing the ideological morbidity of people in a morbid society. It is also a literature interrogating the spirit of modern Chinese and directed at the desperate protest. As a person with rich feelings and noumenal bewilderment, Lu Xun conducted his novel writing amid the contradiction of authenticity and lies. It was just in face of the predicament that Lu Xun' s novel creation had been marked with noumenal metaphoricality, 'polytonality' and musicality. The aesthetic norm of 'leisureliness' or 'hurriedness , proposed in the self-assessment of his own novels, is a very important aesthetic concept of Lu Xun.