“闷”的发现与排解:冷清之闷与郁热之闷——兼及后五四时期戏剧写作心理动力

鲁迅深刻洞彻现代中国之“闷”并成功找到艺术排解方式，《呐喊·自序》把艺术家心理之消极情绪——“铁屋子”之闷，与中国现代命运起来，找到了一条具有启蒙意义的排解方式；欧阳予倩以“热心”书写潘金莲的冷清之闷，将传统的伦理故事讲述成社会问题，试图通过“女性解放”释放时代之闷；曹禺抱定“悲悯”情怀，用“心灵的艺术”奏响反封建与个性解放的主题，让“郁热”雷雨里疯狂挣扎的人们，归于平静沉着。《潘金莲》的“冷清”与《雷雨》的“郁热”，是鲁迅“铁屋子”之闷在各自时代语境中的“重现”，欧阳予倩和曹禺发扬五四启蒙精神，继续着鲁迅式“呐喊”。

The Discovery and Solution of Boredom of C old and Heat

Lu Xun was the first writer who had a deep insight into the “boredom” of modern China and found the succ essful way of artistic solution. Scream·Preface connects the negative emo tion of the artist’s psychology, i.e., the boredom of the "iron room" with the way to deal with it with t he modern destiny of China, finding a n enlightenm ent way out. In the 1920s, Ouyang Yuqian wrote about Pan Jinlian’s loneliness with “enthusiasm”, turned traditional ethical stories into social problems, and tried to release the depression of the times through “women’s liberation”. In the 1930s, Cao Yu, with “compassion" feelings, played the theme of anti-feudalism and individual liberation with “art of the heart”, and made people who were struggling madly in the “sultry” thunderstorm calm. The “cold and quiet boredom” solved by Pan Jinlian and the “hot depression” solved by Thunderstorm are inextricably linked with Lu Xun’s image of the “iron house”. What might be considered the “iron house” of the stuffy “mutation” of the 1920s and 1930s. Ouyang Yuqian and Cao Yu are walking on Lu Xun’s road, walking on Lu Xun’ s Scream·Preface road