“欧美尼德斯”之魅

【作者】 汤伟丽；

【导师】 朱文华；

【作者基本信息】 复旦大学 ， 中国现当代文学， 2009， 博士

【摘要】 与文艺复兴以往，西方复仇文学的批判性发展趋向不同，近现代以来的中国思想、文化／文学界始终或隐或显地贯穿着一种以肯定、褒扬为主导的复仇主义价值倾向——尽管现代法治精神自清末就已输入国门，传统宗法复仇主义滋生、蔓延的制度温床已经不复存在。以民族主义、启蒙主义、“阶级斗争”理论等激进政治文化思潮为依托，这一在“血”与“火”的时代政治现实刺激下，一直不绝如缕地发展着的肯定性复仇价值观，终于在上个世纪三四十年代——一个外敌入侵，抗争情绪高涨的救亡时代、一个特殊的政治区域——“阶级斗争”成为社会生活主要内容的解放区中，激化、汇聚成了一道引人注目的复仇主义文学／文化景观。在解放区文学中，复仇已经和“阶级斗争”、“民族斗争”两大政治话语极为紧密地混合、错综在一起。以相关情节、结构、人物、场景、意象、话语、题材、心理等主题因子为支撑，作家们架构起了一个带有鲜明复仇主义思想倾向的主题结构框架。这一“革命”话语中的复仇主题，带有强烈的现实政治色彩，但同时也因为复仇事由、复仇方式、复仇动机、复仇目标、复仇心态与某种法律(尤其是刑法)知识、法律制度、法律思想、法律心理意识的紧密相关而具有了丰富的法文化意蕴。尽管有“血与火”的时代政治现实为依托，但在一个西方法治精神与现代人文理性已在思想知识界赢得“真理”性地位的时代里，操起革命的“战鼓”为古老的复仇女神唱赞歌，这一价值选择却并不是不证自明的。这自然决定了，解放区作家革命话语中的复仇主题书写必得以“正当性”论证为结构内容、以“合法性”演绎为叙事重心，唯此，才能最终将复仇这一“前现代”话语顺理成章地纳入到“现代”革命样本的创制中来。首先，以复仇惩罚侵害，保障权利的古老救济价值为叙事前提，解放区作家在其复仇文学文本中嵌入了一个二元对立的道德／法律叙事框架，并由此揭示了复仇——情感、愿望及其行动的社会政治根源与现实合理性。通过一个个“恶法”符号、“酷刑”场景、“败诉”事件、“惧讼”细节、“无讼”空间的塑造与描摹，作家们想象、暴露出一幅旧有公权力系统陷于道德坍塌状态，再也不能为蒙受冤抑的人民代行“公共复仇”职能，甚至其自身就是罪恶之源，黑暗之狱的旧政治法律图景，同时也从受害人心理层面上，合乎逻辑地营构出一个孕育着复仇的乡土社会心理空间。这一道德／法律叙事框架中的复仇权利论证与“五四”以来一一尤其是革命文学、左翼文学中的“以‘道德’非‘法’”叙事话语有一脉相承的历史联系，是后者在新的时代政治语境中趋于激化，发展到极端的结果。它所内涵的复仇正当性逻辑及其最终生成的革命性内涵是：既有公权力系统救济功能缺失——→复仇权利产生；作为受害却得不到公权力抚慰的一群，人民不仅能向其具体的、个别的侵害人复仇，而且能向个人与阶级共同的“仇敌”——国家与制度复仇——推翻它!作为一种具有至高正义价值的道德话语，复仇的革命意义由此而生。其次，解放区复仇文学文本中大写着一个“以命还命，以血还血”的“报应刑”公式。在作家笔下，这一古老的“公式”既可以某一司法“广场”上具有仪式意义的标语、口号、呐喊、歌谣、开场白等一系列“杀人偿命，欠债还钱”式的语言符号、一个个具有强烈感官效应的“血”的意象、得到公权力认可、肯定甚至宽纵的“私力复仇”小动作为载体浮现于文本表层，也可内在于一个以“报应正义”为追求的“罪”与“罚”叙事结构之中而潜藏在文本深入。根据“报复刑”这一古老的法律公式，解放区作家想象、渲染出一个又一个以重大道德犯罪为主要构成的“作孽”场景，并以此为逻辑，将本就具有现实合理性的复仇之“罚”提升到了天经地义般的道德正义高度。在这一自成系统的论证格局内，以“报应正义”为标尺，通过大量“公审”场景的记录与理性“复仇者”形象的塑造，解放区作家在“罪与罚”的结构层面上架构起一个以文明、理性为价值追求的“公力报应”(公共复仇)叙事结构。由此，野性的“复仇正义”开始受制于初级法律的某些方面，并且经由权威引导进了理性的“报应正义”轨道。在复仇、报应、革命三种话语的复杂纠葛中，传统的“报应刑”观念得到突破与超越，以“必报”为主导的传统复仇观念、复仇意识也在一定程度上获得了更新与转型的契机。再次，通过一系列具有“主权者”身份的被复仇者形象的塑造，解放区作家喻示出一个亟需颠覆与重构的旧乡土秩序空间。复仇的“秩序”与“反秩序”价值由此展现出“迷人”的革命魅力，运用复仇来完成“颠覆与重构”的现代革命任务亦因此而具有了历史必要性与道德正当性。在这一论证格局内，无论是反秩序角色——“报应者”与非秩序角色——蒙受冤屈的受害苦主构建而成的叙事文本，还是二元反秩序角色——“报应者”与“复仇群众”构建而成的文本，复仇的“秩序”与“反秩序”价值都具有重大革命意义，其所内涵的复仇主题亦都具有丰富的颠覆与重构内涵。概括而言，解放区文学复仇主题的“颠覆与重构”内涵及其革命意义是这样生成的：通过惩罚——也即运用公力“报应”，向某一犯罪或不法行为人、“恶”与旧秩序的象征性符号复仇，在被“不法”与“犯罪”破坏了的道德与人际关系秩序重新回复的同时，旧秩序亦随同其象征性符号——被复仇者的垮台而最终颠覆。也正是在这一“颠覆”过后的瓦砾场上，一个因为“伸冤复仇”而深入人心的新政治法律秩序也同时重构而生。正是在公力报应这一结构层面上，解放区作家圆满地完成了一个“颠覆——重构(具体、个别的人际关系秩序)——重构(抽象、普遍的道德与政治、法律秩序)”的“革命”神话的叙述，同时也将复仇的秩序与反秩序价值提升到了现代革命颠覆旧秩序，重构新秩序的层面上来了。最后，以“三座大山”压迫下“受害人”们的权利状况与“理性”程度为关注重心，解放区作家为战争犯罪的受害同胞、阶级压迫下的穷苦民众绘制出两类处于“非人”状态的受难“身体”形象——人格权利遭受剥夺与侵犯的“非人”的身体形象与个性不自觉的“惧讼”角色典型，并以此为“窗口”将复仇的权利实现价值与个性觉醒意义展露而出。最终，在政治意识形态与现代人权理念、个性启蒙思想的联合打造下，两类具有历史意义的“新身体”形象——“法权”的身体与“理性的身体”，从“受难者”复仇之火的自燃中诞生了!在复仇者漫长的“身体”发展史上，在传统复仇主义伦理文化的现代转换过程中，这两类“新”身体形象的诞生，是对原始血亲复仇者身体“野性”的历史否定，也是对传统宗法复仇者“伦理”属性的跨时代超越。它们是以现代转换已经完成，也即以一个真正“人”的姿态呈现在我们面前的。在完成复仇者又一个“身体”轮回的同时，解放区作家将“复仇”纳入到了“人”的觉醒与解放，理想新“人”的诞生这一知识分子的现代性追求中来了。复仇普世性的现代“合法性”由此建立，其与“革命”也再次获得了激情对话的历史契机。但是，在获得这些历史超越意义的同时，那些经由政治意识形态、现代人文理念共同打造而成的“新”身体，却悖论一般地走上了一条公有化、国有化、工具化的不归路。总之，以复仇的救济价值、秩序价值、“报应”实现与权利争取价值为叙事前提，解放区作家运用各种叙事策略，将传统复仇话语中一系列合道德、合法理、合人性(人情)且能进行现代性转换的价值内涵发掘出来，最终建构起了一个既具有道德正当性又具有现代“合法性”，“革命”与“复仇”两种话语和谐同构的复仇主题结构。传统复仇文学主题由此生发出诸多的现代性内涵，“革命”话语中的现代复仇文学主题也因之带上了鲜明的时代色彩。在建国后的“十七年”文学中，这种革命话语中的复仇主义价值观没有改变，但“正当性”已经不再是作家叙事重心之所在——“复仇”已经无需证明了。在一个民族斗争与阶级斗争呈白热化的时代里，解放区作家以正当性论证为叙事重心的复仇主题书写有其历史必然性与政治必要性。但毋庸讳言，这一在复仇女神“魅惑”下，以认可、褒扬为价值主调的复仇主题创造也隐含着诸多的缺憾、不足甚至是令人警惕的危险性。从复仇、报应、革命三者之间的关系来看，尽管作家们也认识到了私人复仇方式的负面性，并表现出了用公力报应——公共复仇(“作为复仇的刑罚”)代替私力复仇(“作为惩罚的复仇”)的理性追求，但其以正当性论证为叙事重心的主题架构偏向的却始终是复仇的合理性。这必然会阻碍了解放区作家复仇文学主题批判空间的拓展、反思向度的推进，同时也难以避免地让某些需要清理的复仇意识——诸如落后的“同态复仇”观念、民间的“报应”迷信思想、拒绝宽恕的“必报”心理、以“恶抗恶，以暴制暴”的暴力崇拜心态夹杂在作家的复仇正当性论证过程中，并最终有为狂热、偏执、盲动、嗜血等非理性情绪与极“左”思想行为践踏理性、文明、法治而推波助澜，鸣锣开道的危险。另外，从美学层面论，解放区作家笔下的复仇主题创造是有其可圈可点之处的。通过大量广场化司法场景的丰富再现、理性“复仇者”形象的精心塑造，作家们记录了一个特殊时代里的政治司法状况，为后人研究革命战争年代的政治法律制度留下了珍贵的历史文献，同时也扩充了文学史上的复仇者形象阵容，更新了传统复仇者的形象内涵，并成功地架构起一个极具历史超越意义的“公力报应”叙事结构——所有这些，突破性是自不待言的。但是，这种“公力报应”结构又与传统的“善恶报应”主题暗自沟通。在照顾了本民族审美欣赏口味的同时，解放区文学的“报应”叙事又不可避免地导致了作家人物塑造的脸谱化、故事结局一概“大团圆”——“善得善报，恶得恶报”的模式化，乃至哲学深度、诗意美感、悲剧意蕴的缺失。总之，“一面倒”式的复仇正当性论述妨碍了作家的美学探索，解放区文学的复仇主题总体上带有心灵开掘不深、人性深度缺乏，艺术表现平面化、简单化、模式化的弊端。近现代思想文化／文学史上的复仇是一种引人注目的主题现象，但同时也是一种耐人寻味的政治文化现象。解放区作家笔下那一以“肯定”为主导的复仇主义主题构架，是离不开时代政治的塑造，也不能脱离权力意识形态的支撑的。它将民族复仇与阶级复仇、私人复仇与公共复仇集中、整合于一处，为我们研究现代文学史上的激进主义文化思潮提供了一个矿藏丰富的“宝地”，同时也从“复仇主题”这一文学层面为我们总结文学与政治——尤其是“阶级斗争”之间的关系规律、经验教训，探察“延安文人”乃至现代知识分子“革命”征程中的激进心理提供了诸多值得珍视的标本范例。更多还原

【Abstract】 It was different with the western revengeful literature since Renaissance,thatthere was a totally positive comment on revenge in modem Chinese culture andliterature field though modem law had been introduced in the late of the QingDynasty,and the institutional couch of the traditional ethic of revenge had collapsed.Stimulated by defending nation,striving for our motherland and by overturning oldsociety,revanchism of modem China had been ceaselessly spreading,beingimmingled in the extreme trend of political thought,for example nationalism,didacticism,the idea of class struggle and so on. Eventually,it was in the 1930s and1940s,an era of saving our nation from extinction,and in the Liberated Area ofChina,a special governmental territory predominated by class struggle,that itviolently grew a remarkable culture and literature picture characteristic of revanchism.In the liberation area literature,as a kind of pre-modern discourse,revenge has beenamalgamated into these two political discourse struggle for nation and struggle forclass,and been represented a series of factors plot,imago,character,discourse,mind,action,scene,subject matter and narrative pattern. With these factors,authorsstructured a motif of revanchism,which connotes abundant law culture meanings.In the era that Western nomocracy spirit and modem humanities have wongospel status,the value can not be understood,unless it has been proven,although thepolitics reality of“the blood and the fire”as background. This has also decided thatthe revenge subject of liberated area writers must take the justice proof as content,take the legal deduction as recounted enter,then the revenge can be integrated intomodem revolutionary.Fistly,Taking the ancient relief value of the revenge as the narrative premise,theliberated area writers has inserted a dual opposition narrative frame of“moral/law”inits revenge literature texts,and use it to have dug the social politics root of revenge,also has unfolded its realistic rationality. With creating“the bad laws”symbols,“thetorture”scenes,the“lost a lawsuit”events,the“to fear lawsuit”details and “non-lawsuit”spatial molds,the writers have imagined and presented so a villainous,old political system that it has sunk into the moral collapsing condition,and that,ithas not acted“the public revenge”for its people any more,who suffer injusticebecause it has been a source of the evil,a prison of darkness. Finally,they havepresented one mental space in society filled with hatred,which breed revenge.Next,in the revenge literature of liberated area,there was a retribution formula thatreturns the blood by the blood. According to this ancient formula,the liberated areawriters imagined one another“evil”scenes and promoted rational revenge punishmentto a legal Latitude. In this system,tameless revenge began to be induced into rationaltrack. These farmer avengers,not only can control their revenge behavior,but also anpersuade other anger avengers and induced the indignation into rational track. All ortsof revenge measures means that a new“penalty ethics”was finally established. In thecomplex entanglements of revenge,retribution and revolutionize,the traditional ideaof retribution was broken through and surpassed,traditional revenge idea has beenrenewed and changed. The liberated area writer constructed a civilized and rationalnarrative structure. Through this revenge measure,the individual enmity was resolved,moreover,the enmity between national and social class was resolved.Once more,through a series of image of people who are revenged,the liberatedarea writers implied an old local order space which needs to be overthrowed andreconstructed. The revenge value of revenge demonstrated revolutionary enchantment,therefore,the modem revolutionary task had historical necessity and moral justice. Inthis pattern,the restore and subversion value of revenge had significant revolutionarysignificance,accordingly,the revenge subject also had subversion and reconstructionconnotation. In brief,the subversion and reconstruction connotation were formedthrough this way:old order and its symbol that the people who are revenged wereoverthrowed through revenge. In this background,a new political and law systemwould be reconstructed. In this system,the liberated area writers had completelyfulfilled a narrative process of“subversion--reconstruction--reconstruction”. In thesame time,the revenge value of order and counter-order were promoted to a new altitude. On this altitude,the modem revolution overthrowed old order,thenreconstructed new order.Finally,with concentrating on the victim’s human right and its rationality,theliberaten area writers describe two kinds of suffering bodies among victims of warcrime and povety-sticken oppressed in condition of“not a human”----one is not of ahuman because its right of man has been liminated,and the other is a model who fearsof lawsuit because it lacks individuality. From this,we can realize the value ofrevenge for human right and for individuality arousal. Finally,gestated by politicalideology,modem ideas of human right and enlighement togher,two kinds of historicbody images were born from the revenge flame. In the long standing history ofavenger’s bory,this two new boby images that was bom ultimately in the course ofthe transition of traditionalrevanchism to a modem one,discard the primitiveavenger’s savagery,and historically transcend the Chinese tranditional avenger’s bobycontrolle by patriarchal clan system and feudal ethic. They are real modem human,and in the face of them,we can say that reveng has already been used by liberatedarea writers to create a perfect modem Chinese human who is in individuality arousal,and who is pursued by modem intellectuals. Through this,reveng has won thelegislation of modem in the liberation revengeful literature,and has gained a goodchance to speak to“liberation”again. But,unfortunately,those new bodies created byideology and modem ideas are doomed to take their father’s road to nation andcommon,and disquietly,they striding to that rout can not be permitted to come backto take“individuality”.In brief,in the narrative premise of relief value,order calue,retribution value andright value,and with the help of all sorts of narrative strategy,the liberated areawriters extract a series of usful connotations from traditional discourse,whichconform with the morals,the legislation and human nature and that can be used topursue modernity,and finally,a revenge subject structure hardly based on the moralityand modernity has been established. Through it,two confict words----“reveng”and“revolution”unified successfully. Based on this,traditional revenge subject hasobtained rich modem meanings and the modem one in the wors of revolution has won bright history characteristics. In the contemporary literature from 1949 to 1978,revanchism values continued,but“the validity”of revenge had not been regarded asthe narrative emphasization by writers,and it was unnecessary demonstrate Goddessof vengeance’s charm because the liberated area writers had finished it perfectly.In the era of violent national struggle and class struggle,it is inevitable that thewriters in liberated areas took the argumentation on validity as narrative center inrevenges literature.However,there is no doubt that with the charming of the Nemesis,the theme creation of revenge with recognition and praise also has manyshort-comings,deficiency and even dangers. Taking the relationship between therevenge,retribution and revolution considered,although writers were aware of thenegative effects of private revenges,and showed the rational pursuit of replacingprivate revenges (“revenges as punishment”) with public revenges (“penalties asrevenges”),but the theme structure of these literary texts,which focuses on theargumentation on validity,always overweigh the rationality of revenges. That woulddefinitely hinder extending critic space of the subject of revenge literatrue.At thesame time,it is difficult to avoid revenge consciousness in those writers’ argument onthe validity of revenges. Such consciousness include“homomorphism revenge”ideas,superstitious thoughts of“the retribution”,“sure revenge”without mercy and“counterviolence”,and they consist violence worships,therefore face the danger that willpromote the non-rational spirits such as fanaticism,paranoid,putschism,andfrenzy,and push forward the ultra-Left trend of thoughts,which trample rationality,civilization and the rule of law. Moreover,considering aesthetic aspects,the themecreation of liberated area’s revenge literature has many virtues. Throughreappearances of abundant square law scenes,and through the moldiness of therational avengers ’images,the writers have recorded political and judicial conditionsin one special time,and left behind precious historical documents for those who studyrevolutionary ages. At the same time,they also expanded the avenger characters’camp and renewed traditional avenger’s vivid connotation,and successfullyconstructed one narrative structure of public revenges. All these are unprecedentedwithout doubt. But,“one-side”elaborations on the validity of revenges actually hinder writers’ esthetics exploration,and the liberated area literature’s revenge subjecthad weaknesses such as lacking depth of human nature,and simplification andStereotypes in artistic representation.In the modem history of culture and literature,revenge is not only a noticeablesubject phenomenon,but also an interesting politics and culture phenomenon. In theLiberated area literature,revanchism subject frame was built on politics and authorityideology. It gathered national revenge with social class revenge,personal revengewith public revenge. It affords many treasures for us to study radicalism culture trend.At the same time,it summarizes revenge literature and politics for us,especiallyorderliness and experience in class struggle. In additional,it has provided preciousspecimen and model for us to study radical psychology of Yan’an writers and modemintellectual.更多还原