遥远的回响

【作者】 范玉；

【导师】 张全之；

【作者基本信息】 曲阜师范大学 ， 中国现当代文学， 2004， 硕士

【摘要】 与西方神话相比，中国远古神话没有严谨的系统，大多都是一些零散的碎片，对文学的影响也不像西方神话那么明显，所以长期以来没有引起足够的重视，特别是在现代文学研究界。当人们考察现代文学与传统文化关系时，很少考虑中国远古神话对现代文学的渗透与影响。事实上，从晚清到五四乃至到八十年代，中国远古神话一直作为一笔丰厚的资源参与了新文学的生产过程，并对之产生了深远的影响。这一点在鲁迅身上体现的尤其明显。 一是，鲁迅在现代思潮中敏锐地把握到了中西神话热思潮，在东西文化相互撞击的宏观视野里，在传统文化的悖论结构中，在传统——西方——现实三者的参照导向下，把中国远古神话设计为寻找精神的向导之一，并作为构筑自我精神世界的一种具体方法。 可以说，鲁迅致力于一生的奋斗目标就是中国的出路问题、中华民族的自由解放问题及其中国文化的转型重建问题等。而最终归宿是谋求中国的富强、人民的幸福，就是要中国改变积贫积弱的境况，追上世界先进发达国家，建立一个现代化国家。而要改变国家境况，就要改变中国国民，改变中国国民就要启蒙，要启蒙就要“重个人”，要“重个人”就必须既批判、改革国民性而“立人”，又要“正信”，而“正信”的完成要靠宗教与神话。因此，这里涉及到一系列相互关联的问题：传统文化与西方文化、启蒙与批判、神话与当代人类文化发展思潮等。这些问题集结在一起，展示了一个广阔的文化领域，其中蕴含着鲁迅丰富的精神积淀：一个方面，是鲁迅对中国远古神话相关问题的一般和具体的思考与论述，零星地散见于他的学术论文(如《破恶声论》、《文化偏至论》、《中国小说史略》、《中国小说的历史的变迁》等)、文学创作(如《故事新编》和其它散文及其一些书信等)中，鲁迅通过对神话的理解与思考来表达自我的思想，建立一种自我精神的内部联系。另一方面，鲁迅从对神话的具体思考中，从具体的论证中，能产生、提炼、结晶出思想的、文化的一般结论，即形而上的精神向导。这就是鲁迅既要把神话作为方法论基础之一，又要把它纳入认识论、世界观的思想范畴，并以此来指导、构建自我的精神世界。 二是，神话主题以原始意象的方式在鲁迅精神世界里复活，形成了鲁迅对人生、生命、情感等问题的终极价值体验。 (一)“神话英雄”潜藏于奢迅的精神世界之中，造成了普迅英雄心态由对鬼神形象由衷的热爱、盲目推崇到张扬“拜伦式英雄”的英雄主义情怀，再到人的英雄立场的认同。在这一转换的过程中，鲁迅深深体味到社会拒绝英雄，也遗弃英雄;英雄也只能在由圣到俗的转化中，失去自我，陷入孤独、绝望、悲凉之中.神话英雄是普迅悲剧精神的载体，也是言说者。在对神话英雄高扬的过程中，我们看到了鲁迅对人生孤独、生命悲凉、情感阴冷的形而上意义的悲恰体验与苦涩回味，这是普迅精神品格的核心。 (二)神话复仇主题在鲁迅精神世界的建构中颇有几分宗教色彩.鲁迅在对贵尤、刑天、共工、夸父、精卫等神话资源的汲取中，首先发现其复仇意义:复仇的终极意义即惩罚，复仇首先意味着向自我复仇并自我毁灭。中国远古复仇神话“自恶一一破禁一一惩罚”的三段论复仇模式潜入到香迅的心灵深处，影响着普迅的精神塑造。“自恶”强化了普迅心灵深处的阴冷色调;“破禁”促成了鲁迅对国内外敌人、反动势力、一切权威的无比痛恨与毫不妥协的韧性斗争精神;“惩罚”则寓示着一种自怀大爱而不惜自我栖牲的受难的基督精神.如奢迅的挚友，日本的内山完造在奢迅的追悼会上评价的奢迅为“深山苦行的一位佛神”。但香迅不是宗教徒，他在对神话复仇精神汲取的同时，又必然要时时观照西方、现实这两大精神向导并受之牵制，这就形成了鲁迅精神世界的一大悖论:希望中的绝望的复仇之路与绝望中的希望的拯救之路.两者原本是确嗡格的，但却辫证地统一在香迅身上，形成了普迅百折不回、上下求索、永远抗争、生命不息、奋斗不止的坚韧人格.更多还原

【Abstract】 Contrasting with the western mythology, ancient Chinese mythology has no strict system, most of them are some droplets, whose influence to literature is not as apparent as western mythology. Therefore, for quite a long time, it hasn’t arouse enough interest, especially in the World of modern literature of China, When people begin to study the relations between modern and traditional literature, they seldom take ancient Chinese m influence towards modern Chinese literature into consideration. Actually, from the late Qing Dynasty to Wusi Period, even to the 1980s, ancient Chinese mythology has taken part in the production of the new literature as bound resources and left great influence on the new literature. This is especially apparent in Luxun’s works.Firstly, Lu Xun grasped from the modern civilization waves the trend that mythology is very popular in both China and western world. With imposing sight during the crash between western and eastern culture, (with) the conflicting structure of the traditional culture, in the reference of tradition-west-reality, Luxun regards Chinese remote mythology as one of the guidance when looking for spirits, and as one of the concrete methods building his own spirit world.We can say that, the aim which Lu Xun made effort to realize all life are the future and face of China, the freedom and liberation of the nation, the change and rebuilding of Chinese Civilization etc. But the final aims are looking for the power, the happiness of people to change the circumstance of the poor and the small, catching up with the developed countries to build a modem country. The troubles above are concerned together: changing the circumstance of the country needs the change of people. The change of people needs initiation. Initiation yet puts a high value on signal persons. Cherishing signal persons must rely on criticising and reforming the spirit of the nation in order to make one wonderful person. It also asks for rebuilding the faith. Yet finish of it requires mythologyand religion.Therefore, here it concerns a set of related problems: traditional and western culture, initiation and criticism, mythology and the development of the Contemporary civilization saves of humanism and so on. The questions cohered together showing us a vast ocean of culture in which deposits the plenty spirits of him. For one thing, it displays his general and concrete thought and argument about Chinese ancient mythology. Which can be seen casually on his papers.(eg: The Discussion of evil, The Discussion of Extreme culture, The Brief History of Chinese Fictions and The Historical Adaptation of the Novel. The other works like New Stories Based On History and some other essays and letters. He expressed himself through his understanding and thinking about myth, built internal relations during his understanding and thinking about myth, built internal relations during his spirits. For another thing, through the concrete thought of myth. And arguments, he produced, abstracted and resulted to the general conclusion. That is the guidance of subjective spirits. He thought myth as basic methods. Also he put it in the range of recognition, and the attitude of the world.Secondly, the mythical topic comes back to life in the way of primitive appearance in the world of his spirits. And it becomes his final value experience to the life. Being feeling and soon.(I)Mythical hero hides in Lu Xun’s heroic and to the degree of the people’s heroic attitude. In the course of the change He deeply felt that the society refuse heroes abandon heroes; heroes lost themselves in the loneliness, distress, sadness in the change from holiness to worldliness. The mythical hero is the carrier of his tragic spirit. That is to say the speaker, In the course of praising the mythical hero, we can see Lu Xun’s subjective wretched experience and sad memory on the loneliness, sadness and gloom, this is the core of LuXun’s spirit. Character.(II)The mythical revenge topics have some what religion themes of revenge firstly in the absorbing of the myth更多还原