穆时英的都市人生与川端康成的自然人生
|
摘要
穆时英与川端康成分别为中日新感觉派文学主将，尽管他们的文学活动不仅仅限于新感觉派小说创作，但都与新感觉有着千思万缕的关系，都主张将西方现代派与本土文学传统结合起来，走东西结合之路，但由于不同的社会文化背景和文化底蕴，以及不同的精神个性，两位作家在感觉形态上、思维方式上、审美趣味上乃至情感所趋、关注对象上都不尽相同。本文主要从意象、人物形象、意境、意味四个方面对两位作家的小说创作进行平行比较，阐述两位作家不同的创作特质，以期能对两位作家的文学审美价值及其文学贡献有所新发现，从而确认了两位作家在文学史上的地位和意义。全文分四个部分论述：
一、意象比较：都市感觉与自然感觉
穆时英与川端康成同属于感觉主义者，都把感觉作为他们小说创作的基本方式。只是他们的兴趣所在、关注对象显然不同：一个沉溺于都市淫逸生活的自我感觉，一个则醉心于自然与心灵的融合与感悟；一个在都市的速度与刺激中着现代气息，一个则在自然风物里抚触古典美，在四季的流逝中感叹人生。不论是对喧嚣的现代都市的感觉或是在古典空灵感觉的自然里，作家诉说着的是一个共同的主题：灵魂的孤独与寂寞，人生的孤苦与无助，它们共同上升为人类的悲怆感。
二、人物比较：都市丑角与自然精灵
无论是喜欢都市生活的穆时英还是喜欢自然的川端康成，在他们的小说里都塑造了众多形形色色的人物形象。但是如果予以归纳，实际上只有两类人物：男人与女人。而且两人在写法上有一惊人的相似点：男性都处于“失宠”地位，极力淡化男性形象；女性则处于中心位置，女性形象都是通过男性的眼睛来表现的。事实上，这一形象系列在作家笔下都被拟物化了：城市丑角即现代都市的寓言，而川端康成笔下的自然精灵则是自然的化身。
三、意境比较：俗世丑与虚境美
穆时英在他的都市小说里是以审丑角度描绘了中国都市社会的人情世态，在对
篡·一
、义夔梦尹瞅sTER’5 TI正515
都市的省察中，穆时英看透了灯红酒绿、歌舞升平背后人的精神悲苦和生命萎
缩，除了审丑，他在美学上已别无选择。川端康成是一个唯美主义者，他的唯
美追求的是一种超越现实充满佛禅意味的虚幻美。
四、意味比较:出世与入世
不同的社会背景和文化底蕴，以及不同的生活道路和精神个性，又决定了
两位作家不同的人生态度、不同的精神境界和不同的审美理想。很显然，川端
康成是出世的:逃到美丽自然里追求一种澄怀静滤、物心合致的禅境，以出世
的人生态度揭露了人生“一切皆虚妄”，最终流于虚无，堕入虚空;穆时英的
“新感觉”是一种以个体生命为本位的艺术追求，同时又与中国传统文化息息
相关，传统文化品格的渗透，现代个人主义意识的觉醒，双力共同作用之下，
是造就穆时英“双重性格”的根源所在。
Mu Shiying and Kawabata Yasunari are representative figures of great influence of Chinese and Japanese New Feeling School of Literature. Although the two of them didn't confine themselves to producing the novels of that style, they both advocated integrating Western modern literature into native traditional one. But because of the different social and cultural background and cultural inside information as well as the different spiritual character, these authors had the different formation of sensation, the mode of thinking, the aesthetic interests, the emotional tendency and even the targets being paid close attention to. This paper makes a concurrent comparison between the novels of these two writers' in the respects of images, characterization, mood and flavor of their literary works and expounds the distinct features of creation of they two. The author hopes to make some new discoveries in aesthetic value of their literary works and their literary contributions.
The paper makes the comparison in the following four parts:
1. Comparison between images: metropolitan perception and natural perception
Mu Shiying and Kawabata Yasunari both used their feelings as the basic way of novel producing. But it is obvious that they had distinct interests and paid close attention to different targets. One indulged in the self-feeling towards the metropolitan extravagant life, the other was deeply engrossed in the integration and realization of nature and soul; One pursued the flavour of modern times in the tempo and incentive of metropolitan life, the other felt the classical sense of beauty of natural scenery and sigh over life with feeling with the passage of time. The feelings expressed towards the bustling modern cities and graceful and classical nature tell the common theme: loneliness soul and orphanedness and helplessness of
life, which were all raised to the human mournful feelings.
2. Comparison between characters: city buffoons and spirits in the nature Both Mu Shiying who favoured metropolitan life and Kawabata Yasunari who
favoured the nature created numerous characters of every hue. But to sum up, there are actually only two characters-man and woman- in their novels. And astonishing parallels can be found in their literary style, that is, they both weaken men's images, so men all fall into disfavour; women are the center of the novels and they are depicted through the men's eyes. In fact, women's images are materialized: city buffoons are allegories of modern metropolises, while the spirits in the nature as described by Kawabata Yasunari are the embodiments of the natural world.
3. Comparison between the mood of the novels: ugliness of cynicism and beauty of unreal state
In his novels, Mu Shiying portrays the ways of the world of the Chinese metropolises from the angle of appreciating the ugly. During the close observation of the metropolises, Mu Shiying saw through people's spiritual sadness and the withering of people's lives behind feasting and revelry and extolling of the good times. Besides appreciating the ugly, he had no other choice.
Kawabata Yasunari is an aesthete. His aesthetic outlook determines his description of the reality is just the appreciation of the beautiful. He took great pains to pursue the beautiful. This shows his aesthetic thinking of pursuing the traditional beauty and the classical beauty, which constitutes his literary world of aesthetics.
4. Comparison between the flavour: renouncing the world and integrating into the world
The different social and cultural background as well as the different life style and spiritual character determined the two writers' different attitude towards life, different spiritual level and different aesthetic ideal. It is obvious that Kawabata Yasunari was keeping aloof from worldly affairs. The tangling of a variety of factors of times, country, nation and the individual determined that he could only try to escape from reality, negate reality and exposed that "everything is unreal" in
everyone's life. He fled from realit
一、意象比较：都市感觉与自然感觉
穆时英与川端康成同属于感觉主义者，都把感觉作为他们小说创作的基本方式。只是他们的兴趣所在、关注对象显然不同：一个沉溺于都市淫逸生活的自我感觉，一个则醉心于自然与心灵的融合与感悟；一个在都市的速度与刺激中着现代气息，一个则在自然风物里抚触古典美，在四季的流逝中感叹人生。不论是对喧嚣的现代都市的感觉或是在古典空灵感觉的自然里，作家诉说着的是一个共同的主题：灵魂的孤独与寂寞，人生的孤苦与无助，它们共同上升为人类的悲怆感。
二、人物比较：都市丑角与自然精灵
无论是喜欢都市生活的穆时英还是喜欢自然的川端康成，在他们的小说里都塑造了众多形形色色的人物形象。但是如果予以归纳，实际上只有两类人物：男人与女人。而且两人在写法上有一惊人的相似点：男性都处于“失宠”地位，极力淡化男性形象；女性则处于中心位置，女性形象都是通过男性的眼睛来表现的。事实上，这一形象系列在作家笔下都被拟物化了：城市丑角即现代都市的寓言，而川端康成笔下的自然精灵则是自然的化身。
三、意境比较：俗世丑与虚境美
穆时英在他的都市小说里是以审丑角度描绘了中国都市社会的人情世态，在对
篡·一
、义夔梦尹瞅sTER’5 TI正515
都市的省察中，穆时英看透了灯红酒绿、歌舞升平背后人的精神悲苦和生命萎
缩，除了审丑，他在美学上已别无选择。川端康成是一个唯美主义者，他的唯
美追求的是一种超越现实充满佛禅意味的虚幻美。
四、意味比较:出世与入世
不同的社会背景和文化底蕴，以及不同的生活道路和精神个性，又决定了
两位作家不同的人生态度、不同的精神境界和不同的审美理想。很显然，川端
康成是出世的:逃到美丽自然里追求一种澄怀静滤、物心合致的禅境，以出世
的人生态度揭露了人生“一切皆虚妄”，最终流于虚无，堕入虚空;穆时英的
“新感觉”是一种以个体生命为本位的艺术追求，同时又与中国传统文化息息
相关，传统文化品格的渗透，现代个人主义意识的觉醒，双力共同作用之下，
是造就穆时英“双重性格”的根源所在。
Mu Shiying and Kawabata Yasunari are representative figures of great influence of Chinese and Japanese New Feeling School of Literature. Although the two of them didn't confine themselves to producing the novels of that style, they both advocated integrating Western modern literature into native traditional one. But because of the different social and cultural background and cultural inside information as well as the different spiritual character, these authors had the different formation of sensation, the mode of thinking, the aesthetic interests, the emotional tendency and even the targets being paid close attention to. This paper makes a concurrent comparison between the novels of these two writers' in the respects of images, characterization, mood and flavor of their literary works and expounds the distinct features of creation of they two. The author hopes to make some new discoveries in aesthetic value of their literary works and their literary contributions.
The paper makes the comparison in the following four parts:
1. Comparison between images: metropolitan perception and natural perception
Mu Shiying and Kawabata Yasunari both used their feelings as the basic way of novel producing. But it is obvious that they had distinct interests and paid close attention to different targets. One indulged in the self-feeling towards the metropolitan extravagant life, the other was deeply engrossed in the integration and realization of nature and soul; One pursued the flavour of modern times in the tempo and incentive of metropolitan life, the other felt the classical sense of beauty of natural scenery and sigh over life with feeling with the passage of time. The feelings expressed towards the bustling modern cities and graceful and classical nature tell the common theme: loneliness soul and orphanedness and helplessness of
life, which were all raised to the human mournful feelings.
2. Comparison between characters: city buffoons and spirits in the nature Both Mu Shiying who favoured metropolitan life and Kawabata Yasunari who
favoured the nature created numerous characters of every hue. But to sum up, there are actually only two characters-man and woman- in their novels. And astonishing parallels can be found in their literary style, that is, they both weaken men's images, so men all fall into disfavour; women are the center of the novels and they are depicted through the men's eyes. In fact, women's images are materialized: city buffoons are allegories of modern metropolises, while the spirits in the nature as described by Kawabata Yasunari are the embodiments of the natural world.
3. Comparison between the mood of the novels: ugliness of cynicism and beauty of unreal state
In his novels, Mu Shiying portrays the ways of the world of the Chinese metropolises from the angle of appreciating the ugly. During the close observation of the metropolises, Mu Shiying saw through people's spiritual sadness and the withering of people's lives behind feasting and revelry and extolling of the good times. Besides appreciating the ugly, he had no other choice.
Kawabata Yasunari is an aesthete. His aesthetic outlook determines his description of the reality is just the appreciation of the beautiful. He took great pains to pursue the beautiful. This shows his aesthetic thinking of pursuing the traditional beauty and the classical beauty, which constitutes his literary world of aesthetics.
4. Comparison between the flavour: renouncing the world and integrating into the world
The different social and cultural background as well as the different life style and spiritual character determined the two writers' different attitude towards life, different spiritual level and different aesthetic ideal. It is obvious that Kawabata Yasunari was keeping aloof from worldly affairs. The tangling of a variety of factors of times, country, nation and the individual determined that he could only try to escape from reality, negate reality and exposed that "everything is unreal" in
everyone's life. He fled from realit
引文
严家炎 《中国现代小说流派史》，人民文学出版社1989年版
严家炎 《新感觉派小说选》，人民文学出版社1985年版
苏雪林 《苏雪林文集》安徽文艺出版社，1996年版
杜衡 《关于穆时英的创作》，《现代出版界》第9期
许道明 《海派文学论》，复旦出版社1999年版
李鸥梵 《上海摩登——一种都市文化在中国》，北大出版社2001年版
郁达夫 《关于小说的话》、《文艺创作将讲座》第一卷，光华书局1931
穆时英 《我的生活》《公墓》上海现代书局出版社1933年版
许志英、邹恬 《中国现代文学主潮》，福建教育出版社2001年4月版
赵凌河 《中国现代派文学引论》，辽宁人民出版社1990年版
沈从文 《论穆时英》．《沈从文文集》，广州花城出版社，1984年版
黑婴 《我见到的穆时英》、《文人画像——名人笔下的名人》，三联书店1996年版
卜少夫 《穆时英之死》，《无梯楼杂笔》，1947年4月新闻天地社版
谭楚良 《中国现代派文学史论》，学林出版社1996年版
叶渭渠 主编 《川端康成文集》，中国社会科学出版社1996年4月版
[日]川端康成 《雪国古都》，漓江出版社1998年4月
[日]川端康成 《川端康成谈创作》叶渭渠译，三联书店1988年版
[日]长谷川泉 《川端康成论》，时代文学出版社1993年版
南博 《日本人的心理》，上海文汇出版社1991年版
[日]铃木大佐 《禅与日本文化》，北京三联书店1989年版
叶渭渠、唐月梅 《日本人的美意识》，北京开明出版社1993年版
金开元 《禅意与化境》，上海文艺出版社1993年版
《外国文学研究集刊》，中国社会科学出版社1983年出版
谭晶华 《川端康成传》上海外语教学出版社1996年版
严家炎 《新感觉派小说选》，人民文学出版社1985年版
苏雪林 《苏雪林文集》安徽文艺出版社，1996年版
杜衡 《关于穆时英的创作》，《现代出版界》第9期
许道明 《海派文学论》，复旦出版社1999年版
李鸥梵 《上海摩登——一种都市文化在中国》，北大出版社2001年版
郁达夫 《关于小说的话》、《文艺创作将讲座》第一卷，光华书局1931
穆时英 《我的生活》《公墓》上海现代书局出版社1933年版
许志英、邹恬 《中国现代文学主潮》，福建教育出版社2001年4月版
赵凌河 《中国现代派文学引论》，辽宁人民出版社1990年版
沈从文 《论穆时英》．《沈从文文集》，广州花城出版社，1984年版
黑婴 《我见到的穆时英》、《文人画像——名人笔下的名人》，三联书店1996年版
卜少夫 《穆时英之死》，《无梯楼杂笔》，1947年4月新闻天地社版
谭楚良 《中国现代派文学史论》，学林出版社1996年版
叶渭渠 主编 《川端康成文集》，中国社会科学出版社1996年4月版
[日]川端康成 《雪国古都》，漓江出版社1998年4月
[日]川端康成 《川端康成谈创作》叶渭渠译，三联书店1988年版
[日]长谷川泉 《川端康成论》，时代文学出版社1993年版
南博 《日本人的心理》，上海文汇出版社1991年版
[日]铃木大佐 《禅与日本文化》，北京三联书店1989年版
叶渭渠、唐月梅 《日本人的美意识》，北京开明出版社1993年版
金开元 《禅意与化境》，上海文艺出版社1993年版
《外国文学研究集刊》，中国社会科学出版社1983年出版
谭晶华 《川端康成传》上海外语教学出版社1996年版