张爱玲的小说观及其小说创作
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摘要
雅俗两种文学的关系,呈现出多种情状。张爱玲的创作,突出、集中地显示了历史转变中雅俗汇通的错综情态。着眼于小说的多销、赚钱,强调小说的故事性,不避讳通俗性,也有一定的文化层次,且具有较多的洋化色彩,这些都是海派作家的作品常有的特征。张爱玲正是一个具有鲜明海派特征的小说家。在张爱玲身上,我们可以发现两个与时代主潮不同的变化:她遭受封建家庭的压迫,以至迫害,却没有走向五四式反封建的个性解放,而是在香港之战的刺激下,孳生出对于个体情欲的体验与感悟。她认识到大众的重要性,并非想融合进去,而是将大众看作是买杂志的衣食父母,她是为了求名求利才面向一个特定的读者群的。这两点都使得张爱玲在社会政治学模式兴起的现代小说史上的存在带有一种十分短暂的机遇性,并且也使她的创作取得了一种独特性。她的小说观及其创作具有由雅及俗,雅中见俗的特点。张爱玲小说中比较独特的主题,是对于人性之扭曲的描写。张爱玲小说在艺术上突过前人与同时代人的地方,在于她醒目地运用了一种幻丽的笔法。张爱玲善于具体地表现人物的心理,景物之写中融入心理感受是一种方法,意象连缀也是一个方法。但由于缺少正确的理性升华,加之生活范围狭窄,因此她势必难以对人性的扭曲作出更多的社会、文化的开掘。再加上在香港战争中所形成的对于人的生物性、兽性及缺点的认识,因此她极易走到对人的情欲作出过甚强调的地步,从而出现病态的表现。张爱玲小说所给予我们的最重要的启示,是必须坚持雅对于俗的提高作用,坚持丰博的精神力量对于感性材料的透入。
The relationship between elegant and popular literature presents various types of situations. Eileen Chang's works highlight and concentrate the intricate state of integrating elegance and vulgarity in the historical transformation. Focusing on the book selling and money earning,the Shanghai writers always emphasize the story of novel and its popularity,seize the higher level of culture with the charms of westernization. Eileen Chang,as such a novelist with distinctive characteristics of Shanghai School,presents two different changes different from the major trend of that times: she was oppressed and persecuted by the feudal family,but did not acquire the May 4 th anti-feudal liberation of personality; under the stimulation of the Hong Kong War,she got the experience and perception of individual lust. She realized the importance of the masses,unwilling to join in them,but regarded them as the parents who buy magazines. She only aimed at a specific audience for fame and profit. These two points granted her a very short opportunity to show her unique creation in the history of modern fiction with the rising of sociopolitical model. Her fiction and creation are characterized by the conversion from elegance to vulgarity,and by prevailing vulgarity in elegance. The unique theme in Chang's novels remains the distortion of human nature.Eileen Chang surpasses her predecessors and contemporary writers in art with her remarkable and fantastic style of writing. She is adept at expressing the characters' psychology concretely,fusing feelings into the writing of scenery,and imaging continuously. However,due to the lack of proper rational sublimation and her narrow scope of life,it is bound to be difficult for her to make more social and cultural excavation for the distortion of human nature. In addition,her understanding of human's biology,beastliness and shortcomings formed during the Hong Kong War made her easy to overemphasize human's desire and thus to show the morbid manifestation. The most important enlightenment from Eileen Chang's novels is that we must insist on elegance's improvement of vulgarity and the penetration of rich spiritual power into perceptual materials.
The relationship between elegant and popular literature presents various types of situations. Eileen Chang's works highlight and concentrate the intricate state of integrating elegance and vulgarity in the historical transformation. Focusing on the book selling and money earning,the Shanghai writers always emphasize the story of novel and its popularity,seize the higher level of culture with the charms of westernization. Eileen Chang,as such a novelist with distinctive characteristics of Shanghai School,presents two different changes different from the major trend of that times: she was oppressed and persecuted by the feudal family,but did not acquire the May 4 th anti-feudal liberation of personality; under the stimulation of the Hong Kong War,she got the experience and perception of individual lust. She realized the importance of the masses,unwilling to join in them,but regarded them as the parents who buy magazines. She only aimed at a specific audience for fame and profit. These two points granted her a very short opportunity to show her unique creation in the history of modern fiction with the rising of sociopolitical model. Her fiction and creation are characterized by the conversion from elegance to vulgarity,and by prevailing vulgarity in elegance. The unique theme in Chang's novels remains the distortion of human nature.Eileen Chang surpasses her predecessors and contemporary writers in art with her remarkable and fantastic style of writing. She is adept at expressing the characters' psychology concretely,fusing feelings into the writing of scenery,and imaging continuously. However,due to the lack of proper rational sublimation and her narrow scope of life,it is bound to be difficult for her to make more social and cultural excavation for the distortion of human nature. In addition,her understanding of human's biology,beastliness and shortcomings formed during the Hong Kong War made her easy to overemphasize human's desire and thus to show the morbid manifestation. The most important enlightenment from Eileen Chang's novels is that we must insist on elegance's improvement of vulgarity and the penetration of rich spiritual power into perceptual materials.
引文
[1]唐弢.既要开放,又要坚持原则[N].文艺报,1983-08-07(8).
[2]沈从文.郁达夫张资平及其影响[M]∥沈从文文集(第11卷).广州:花城出版社,1984:142.
[3]郑伯奇,编.《中国新文学大系·小说三集》导言[M]∥中国新文学大系(小说三集).上海:上海良友图书印刷公司,1935:21.
[4]张爱玲.张爱玲文集(第4卷)[M].合肥:安徽文艺出版社,1992:176.
[5]王鍾陵.文学史新方法论[M].苏州:苏州大学出版社,1993;台北:文史哲出版社,2003.
[6]张爱玲文集(第2卷)[M].合肥:安徽文艺出版社,1992.
[7]张爱玲文集(第1卷)[M].合肥:安徽文艺出版社,1992.
[8]傅雷.论张爱玲的小说[J].万象,第3年,(11):52-60.
(1)《记创造社》,丁景唐编选《陶晶孙选集》,人民文学出版社1995年,第240页。引文中“创造”二字,原用的是双引号,现为规范和易见,改用书名号。引者按。
(2)引文中第二个“悲壮”原误为“悲剧”。引者按。
(3)又见《自己的文章》,载1944年12月《苦竹》第2期。
(1)又见《烬余录》,载1944年2月10日《天地》月刊第5期。
(1)又见《论写作》,载1944年4月《杂志》第13卷1期。
(2)又见《我看苏青》,载1945年4月《天地》第19期。
(3)又见《童言无忌》,载1945年5月《天地》第7、8期。
(1)转引自《童言无忌》,《张爱玲文集》第4卷,89页。
(2)又见《到底是上海人》,载1943年8月10日(上海)《杂志》第11卷第5期;1946年,朱自清在《我是扬州人》中也说“上海人太狡猾了”(《朱自清全集》第4卷,江苏教育出版社1990年12月第1版,第459页)。
(1)《沉香屑,第一炉香》《沉香屑,第二炉香》,在《张爱玲文集》第1卷、第2卷中,这两篇小说的题目于“屑”与“香”之间均空以一格,无标点,但在《到底是上海人》一文中,这两处则都是以逗号代空格的(《张爱玲文集》第4卷第20页),为了便于排印、识别,兹采用此文中的标法。引者按。
(1)傅雷《论张爱玲的小说》,署名迅雨,载1944年5月1日《万象》第3年第11期第57页。此期又标为“五月号”。引者按。
(1)引文中“碧清”后的冒号,疑误,当为分号。引者按。
(1)引文“文学的主题”后应加一“论”字。引者按。
(1)引文中“问题”后原用句号。引者按。
(2)又见《写什么》,载1944年8月《杂志》第13卷5期。
[2]沈从文.郁达夫张资平及其影响[M]∥沈从文文集(第11卷).广州:花城出版社,1984:142.
[3]郑伯奇,编.《中国新文学大系·小说三集》导言[M]∥中国新文学大系(小说三集).上海:上海良友图书印刷公司,1935:21.
[4]张爱玲.张爱玲文集(第4卷)[M].合肥:安徽文艺出版社,1992:176.
[5]王鍾陵.文学史新方法论[M].苏州:苏州大学出版社,1993;台北:文史哲出版社,2003.
[6]张爱玲文集(第2卷)[M].合肥:安徽文艺出版社,1992.
[7]张爱玲文集(第1卷)[M].合肥:安徽文艺出版社,1992.
[8]傅雷.论张爱玲的小说[J].万象,第3年,(11):52-60.
(1)《记创造社》,丁景唐编选《陶晶孙选集》,人民文学出版社1995年,第240页。引文中“创造”二字,原用的是双引号,现为规范和易见,改用书名号。引者按。
(2)引文中第二个“悲壮”原误为“悲剧”。引者按。
(3)又见《自己的文章》,载1944年12月《苦竹》第2期。
(1)又见《烬余录》,载1944年2月10日《天地》月刊第5期。
(1)又见《论写作》,载1944年4月《杂志》第13卷1期。
(2)又见《我看苏青》,载1945年4月《天地》第19期。
(3)又见《童言无忌》,载1945年5月《天地》第7、8期。
(1)转引自《童言无忌》,《张爱玲文集》第4卷,89页。
(2)又见《到底是上海人》,载1943年8月10日(上海)《杂志》第11卷第5期;1946年,朱自清在《我是扬州人》中也说“上海人太狡猾了”(《朱自清全集》第4卷,江苏教育出版社1990年12月第1版,第459页)。
(1)《沉香屑,第一炉香》《沉香屑,第二炉香》,在《张爱玲文集》第1卷、第2卷中,这两篇小说的题目于“屑”与“香”之间均空以一格,无标点,但在《到底是上海人》一文中,这两处则都是以逗号代空格的(《张爱玲文集》第4卷第20页),为了便于排印、识别,兹采用此文中的标法。引者按。
(1)傅雷《论张爱玲的小说》,署名迅雨,载1944年5月1日《万象》第3年第11期第57页。此期又标为“五月号”。引者按。
(1)引文中“碧清”后的冒号,疑误,当为分号。引者按。
(1)引文“文学的主题”后应加一“论”字。引者按。
(1)引文中“问题”后原用句号。引者按。
(2)又见《写什么》,载1944年8月《杂志》第13卷5期。