鲁迅小说“油滑”手段与浙东戏曲“二丑艺术”

杂带"油滑"的《故事新编》创作时间跨越13年,此间,鲁迅经历了一个由新文化运动旗手到颠沛民间甚至是众叛亲离的荡激过程,其创作心态和艺术手段也必然随之经历变化。油滑,符合这种人生转变时期的心理特征。作为一种独特的艺术表现手段,它仿拟了浙东民间戏曲"的二丑艺术",但却有利于保持韧战者的心理优势,同时也表现了鲁迅作为文化先驱的"无情面地解剖自己"和类似玩世不恭的"捣乱"与自嘲。循此理解,关于长期存在的《故事新编"》油滑"争议就可以在很大程度上得以解决。

Glibbness in Luxun's Short Stories and Second-Buffoon Art in Eastern ZheJiang Theatricals

In 13 years of writing Newly-Edited Stories with glibness, Lu Xun, a harbinger of New Cultural Movement who was afterward opposed by his old followers, had some changes in his mental state and art means. The glibness accorded with his psychological feature in the period. As a kind of unique artistic means, it imitated Second-Baffoon Art in the folk opera of Eastern Zhejiang privince, helpful to maintain the psychological advantage as a consistent fighter, and showing serious self-criticism and analogous cynicism as a cultural pioneer. Following this understanding, we can have a better solution to the long-term dispute about the glibness in this book.