【作者】 张然；

【导师】 靳丛林；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2004， 硕士

【摘要】 施蛰存的小说创作在20世纪30年代的中国文坛独树一帜，其标新立异的作风使作品有较大的阐释空间。他的创作历程有一条清晰的发展轨迹。早年出版了短篇小说集《上元灯》，作品带着乡土小说的痕迹，缺少独创性，虽然其中《栗芋》、《闵行秋日记事》、《宏智法师的出家》三篇已经尝试突破陈旧的题材，添加了一些传奇色彩。1932年出版的《将军底头》可看作施蛰存小说创作的第二部曲。他大胆运用心理分析，描写古人的潜意识，摆脱了现实主义的束缚，拓展了新文学的题材，在当时文坛引起关注，也因此被文学史家归入“新感觉派”。但他随后创作的《魔道》、《夜叉》、《宵行》等作品一直受到误读，并且不受重视，被视为新文学的异端。《魔道》一组小说可看作施蛰存创作的第三部曲，是他创作生涯的转捩点。在这个时期的小说中，他开始了新文学运动以来前所未有的探索，从现实步入幻觉，从外部世界进入无限的心灵空间，逾越了当时社会环境与文学环境所能接纳的限度，他的种种尝试尚未充分展开便嗄然中止了。施蛰存小说第三部曲的底色是黑色与白色，借此把寻常的事物附上东西方传统文化的意象，形成鲜明的对比。黑色象征着夜晚、朦胧的事物，在神秘感之余，给人莫名的不祥预兆，使人感受某种未明的超自然力量的威胁，于是扩展了人物的心理时空。在夜色中，小说的主人公陷入陌生的环境，被恐惧感压迫着，产生种种幻觉与妄想。他们仿佛处于某种秘密力量的监视之下，于是感受着某种威胁，窥测着人生路上不可知的前景。《魔道》里不仅有“黑衣老妇人”的描写，还写了伴随主人公旅程相继出现的黑斑点、黑啤酒，恐惧感如影随形追逐着他，每一片黑色都是“魔法的老妇人”的化身。主人公的恐惧为小说提供了对读者的引诱——引诱着读者的猜测和期待。读者大多会依照通常形成的阅读习惯做出判断，估计接着会有什么异常的事要发生了，这样便在故事叙述的情节进展与读者的猜测、期待之间，形成了一定的张力。小说中的白色象征女性的美貌，往往使主人公晕眩，并不断产生遐思。《魔道》的“我”面对丑陋的黑衣老妇，竟想象她是古代王妃的化身，而“古代的美貌王妃的木乃伊，曳着她的白绸拖地的长衣”。友人陈君的夫人，在“我”眼中也是黑衣老妇幻化而成，却因为灯光的作用，身上的淡红绸洋服幻成了白色，“实在是已经超于真实的白色，这是使人看不定的神秘的白色”，受了诱惑，想象着与这白衣女人恋爱。《夜叉》的卞士明，在极恐怖的夜色中，追赶一个被他认定是“夜叉”的白色女人。在恐惧和欲望之间，他无法抑制白色的吸引，竟想<WP=49>与凶残暴虐的夜叉恋爱。黑与白象征着小说主人公对女性的两种截然相反的想象：黑代表丑陋和恐怖，白色的飘忽美丽却惹人情思。施蛰存运用两种颜色的对比，真实展示了男性面对女性、人类面对神秘时恐惧而又好奇的内心冲突。其中的女性形象分裂为黑与白两部分，又随情境的发展交织在一起，让丑陋与美丽通过人的主观幻想集中在一人身上，给读者新奇的审美体验，也反映了我们这个世界存在着一定程度的不确定性。他的小说中的人物往往相信鬼魂的存在。《旅舍》的丁先生，《夜叉》的卞士明，《魔道》的“我”，都是受过现代教育、有着基本科学常识的知识分子，但对掌故、笔记里描述的鬼怪故事深信不疑，并把荒诞的想象带入自己的生活，其行为与知识水准不符，他们的信仰在自然科学与神鬼幻象中摇摆、挣扎。依照五四新文学倡导的科学、理性精神，现代人不该对自身赖以生存的客观世界产生怀疑，不该相信经验之外的事物，这些陷入鬼神迷信的现代知识分子是值得批判的。但施蛰存对他笔下的人物并未采取批判、嘲讽的态度，而是把恐惧感归结为人类一种普遍的情感。这违背了五四时代陈独秀等人崇尚科学、反对旧文化的精神，对于沈雁冰提倡的自然主义/写实主义也是一种颠覆。从文学的角度说，施蛰存对“怕鬼”的恐惧的渲染，是他作为小说家的一种游戏方式，偶发奇想的因素不加掩饰地凸现在作品里。他并未满足于荒诞情境的铺陈，因此没有更多发挥中国文学的志怪传统，而是摹仿爱伦·坡的恐怖小说，把小说的故事背景、人物心理推到日常生活以外，给文学创作更广阔的空间。比较爱伦·坡《厄舍府的倒塌》、《黑猫》等代表作，可以看出施蛰存只是借鉴了其中描写的技巧，没有着力刻画恐怖场面。《魔道》等小说主要表现人物的心理活动，尽管外部世界在平和、有序地运转，人物的内心仍会产生种种联想，眼前出现许多幻象。爱伦·坡的离奇故事带给读者恐怖的体验，但未曾走入人物的心灵世界。在施蛰存的小说中，外部世界的形态取决于人物主观意志的变化，随着恐惧心理的不断发展，那个隐匿于日常经验背后的鬼怪世界也渐渐成形，造成更多诡异的幻象。这种不顾科学常识、表现人物心灵图景的写作手法，比爱伦·坡的小说更具有现代性，也超越了当时统治文坛的唯科学主义与写实主义。中国旧文学的教化传统及五四以后提出的“人的文学”、“为人生的文学”，把文学的范畴局限在现实世界，极大地桎梏了作家和读者的想象力。施蛰存小说创作的第三部曲大胆突破了文学的传统观念，描写人物的主观想象，引入种种超现实的?更多还原

【Abstract】 The novels of Zhecun Shi develop a school of his own in the literary world of China in 1930s,the style of writing. unconventional or unorthodox made more space for elaborate. His course of writing growing a clear clue. He had published novels collection ‘the Festival of the Dead Spirits’ in his early years. It leaves trace of literary novels that draw heavily on local subjects. It is short of originality. Though the three novels of them as ‘From Chestnut To Taro’,’MinHang Autumn Log’,’ Buddhist HongZhi Became A Monk’ have tried to breaking the old subject. They adds some saga coloring.’ The Head Of A General’ which be published in 1932,the second of trilogy of Zhecun Shi’s psychoanalysis can be looked upon as writing. He describes the subconscious of the ancients, casting off the tie of realism, widening the subject of new literature. He is followed with interest at that time. So he is belonged to ‘the new feelings’. But novels like ‘Demon Path’,’ Night Travel’,’ A Hideous’ by Zhecun Shi were suffered of wrong understanding. People did not pay any attention to them. They were looked upon as the heterodoxy of new literature. They can be looked upon as the third trilogy of Zhecun Shi’s writing. They are the turning point of his writing. In these novels, he started exploreing,from reality to hallucination, from the outside world to intelligent space. He goes beyond the limit, the infinite which the social and literature environment can admit at that time. So all kinds of his attempts discontinue.The third trilogy of Zhecun Shi’s writing’s bottom color is black and white. By this adds images of the east and west culture to the usual objects, forming a sharp contrast. Black symbolizes night, drowsy objects. At night, the leading character in the novels sink into a unfamiliar environment, emerging variety of hallucination. The leading character’s fear many lure the reader to guess and expect. Readers are good at determining the coming things. White symbolizes women’s good looks. Between fear and desire, he could not control the attract of the white and tried to loving with a hideous who hostile and cruel. Black and white mean the imaging that main character thinking about female. Black means ugly and fear, the white beauty spoil a man to sensitive.Zhecun Shi compare the two kinds of color, showed conflict when man face <WP=51>woman and human face secret, it makes fear and curious. The image of female break up two parts that black and white. Following the conditions develop, the two colors mix ugly and beauty on a being by the subjective fantasy. It makes fresh experience for reader and fluency some incurrent in our world.The characters in his novels believe in ghost.’ Inn’s Mr.Ding,’A Hideout’s Bian Shi Ming,’ Demon Path’s ‘I’ are all the intelligentsia. But they believe in ghost. these superstitious intelligentsia should be criticized. Yet Zhecun Shi does not criticize them. From literature angles,Zhecun Shi;s fearing ghost is a game. He imitates a way to Allen Poe’s horror fiction. In Zhecun Shi’s novels, the outside world’s form is decided by people’s will. This writing method has more modern times comparing with Allen Poe’s novels.The third trilogy of Zhecun Shi’ writing casts off the traditional ideas of literature, unfolding a strange world before the readers. His novels surpass the era. At that time, the literature circle could not understand this writing which is short of immediate significance. So he was unfrequented by literary history. But these novels represent the peak of imagination on Chinese modern literature. They show the other exploring of new literature.更多还原