《朝花夕拾》的儿童叙事及其文体功能
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摘要
《朝花夕拾》的整体表达风格是大悖于所谓"文格"的——追忆童年往事却又带入时事,意在批判传统文化却又沉溺于考镜文献源流,讽喻中偏多絮语,爱憎间屡有闲趣,这种任意推展的笔墨让人隐约可见鲁迅写作过程中"童年意绪"时时压倒"成人心事"的情状,最终成就的是《朝花夕拾》更加贴近那种无所用心的有趣之童心而非急功近利的现实之感兴的文章体式。《朝花夕拾》这些直写作者兴致与趣味的笔墨,既是在追索童年可能的记忆,更是对今昔孩童顺乎天性、痛快生活的理想境界的追摹与仿效。虽不能至,修辞可达,《朝花夕拾》至少在伸展自如的文体形式上表达了鲁迅期许的儿童世界的理想样貌。
The overall style of expression of Dawn Blossoms Plucked at Duskis contrary to the so-called "literary style", recalling the past of childhood but bringing current events, intending to criticize traditional culture but indulging in the source of textual research literature, there are too many words in the allegory, and there are many idle interests between love and hatred. The ultimate achievement of this arbitrary development of brushwork is that Dawn Blossoms Plucked at Dusk is closer to that kind of useless and interesting childlike innocence. It is not a realistic style of writing that is interested in quick success and instant benefit. Such kind of contents are not only tracing the possible memory of childhood, but also tracing and imitating the ideal realm of children's nature and happy life in the past and present. Although it can't be reached, rhetoric can be reached,the prose in this book at least expresses the ideal appearance of children's world in Lu Xun's expectancy in a flexible style.
The overall style of expression of Dawn Blossoms Plucked at Duskis contrary to the so-called "literary style", recalling the past of childhood but bringing current events, intending to criticize traditional culture but indulging in the source of textual research literature, there are too many words in the allegory, and there are many idle interests between love and hatred. The ultimate achievement of this arbitrary development of brushwork is that Dawn Blossoms Plucked at Dusk is closer to that kind of useless and interesting childlike innocence. It is not a realistic style of writing that is interested in quick success and instant benefit. Such kind of contents are not only tracing the possible memory of childhood, but also tracing and imitating the ideal realm of children's nature and happy life in the past and present. Although it can't be reached, rhetoric can be reached,the prose in this book at least expresses the ideal appearance of children's world in Lu Xun's expectancy in a flexible style.
引文
[1] 鲁迅全集:第2卷[M].北京:人民文学出版社,2005.
[2] 周作人.鲁迅小说里的人物[M].石家庄:河北教育出版社,2002.
[3] 李欧梵.铁屋中的呐喊[M].杭州:浙江大学出版社,2016.
[4] [日]丸尾常喜.“人”与“鬼”的纠葛——鲁迅小说论析[M].秦弓译.北京:人民文学出版社,1995.
[5] [日]竹内好.鲁迅[M].李心峰译.杭州:浙江文艺出版社,1986.
[6] 周作人.鲁迅的故家[M].石家庄:河北教育出版社,2002.
[7] 谢晓虹.五四的童话观念与读者对象[A].徐兰君,等编.儿童的发现[C].北京:北京大学出版社,2011.
[8] 鲁迅全集:第10卷[M].北京:人民文学出版社,2005.
① 据周建人回忆,催促鲁迅呼喊弥留之际父亲的人是阿长,并非鲁迅记忆中的衍太太。见周建人《鲁迅故家的败落》,福建教育出版社2001年版,第108页。
[2] 周作人.鲁迅小说里的人物[M].石家庄:河北教育出版社,2002.
[3] 李欧梵.铁屋中的呐喊[M].杭州:浙江大学出版社,2016.
[4] [日]丸尾常喜.“人”与“鬼”的纠葛——鲁迅小说论析[M].秦弓译.北京:人民文学出版社,1995.
[5] [日]竹内好.鲁迅[M].李心峰译.杭州:浙江文艺出版社,1986.
[6] 周作人.鲁迅的故家[M].石家庄:河北教育出版社,2002.
[7] 谢晓虹.五四的童话观念与读者对象[A].徐兰君,等编.儿童的发现[C].北京:北京大学出版社,2011.
[8] 鲁迅全集:第10卷[M].北京:人民文学出版社,2005.
① 据周建人回忆,催促鲁迅呼喊弥留之际父亲的人是阿长,并非鲁迅记忆中的衍太太。见周建人《鲁迅故家的败落》,福建教育出版社2001年版,第108页。