鲁迅后期创作的嬗变与租界文化

置身于繁华纷扰的十里洋场后,租界的精神气候逼迫鲁迅在创作上改弦易辙。租界文化环境给鲁迅的杂文带来了一些明显变化:一、创作内驱力由主动转为应对。二、杂文批判的视野越来越窄,思想境界不如前期广博大气。三、鲁迅前期杂文直面的是整个传统文化和制度,后期杂文指向十里洋场的恶习;前期是宏大叙事,后期是琐碎叙事;前期是反传统农业文化,后期是反现代商业文化。鲁迅《故事新编》前后期小说风格境界的差异,明显是租界文化影响的结果。同样是诙谐,前期三篇小说的诙谐出于至性深情,流露出浓厚的悲悯意识, 是悲剧的诙谐、认真的诙谐,后期五篇则有点滑稽玩世,透露出轻薄的精神优胜,是喜剧的诙谐、油滑的诙谐。《故事新编》前期三篇糅入了更多的主体性,后期五篇基本上属于“他者”故事的讲述,缺乏个体生命体验的热烈参与。

Changes in Lu Xun's Artistic Creation in His Later Period and Leased Land Culture

Lu Xun's location in the prosperous and maddening foreigner-leased land and its cultural climate impels Lu Xun to make adaptations in his writing. In terms of his essays, the following three changes can be shown: (1) the inner motivation of writing is shifted from being active to being passive; (2) the horizons of criticism in his essays are becoming narrower; (3) compared with his essays in the previous period, which are directed towards the whole traditional culture and regulations, the essays in the later period are targeted towards the evil behavior prevalent in the limited foreigner-leased land; hence, the former is grand narrative concerned about the anti-traditional agricultural culture while the latter is trifling and fragmented narrative concerned about anti-modern business culture. Newly Adapted Stories by Lu Xun demonstrates two sharp contrasts between his early period of writing and his later period, which, obviously, results from the influence of the leased-land culture. The wit, tragic and conscientious, in the three short stories in the early period comes from the affections inborn and inherent while the wit is comedic and slippery in the five short stories in the later period. The first three stories integrate more of the subjectivity while the later five stories are presented by "the other," thus lacking the enthusiastic participation of the individual lives.