《秋夜》是魯迅散文集《野草》中的一篇散文
《秋夜》是散文詩集《野草》的第一篇,發表於1924年12月。作者當時在北京,正和北洋軍閥黑暗統治及封建勢力進行着韌性的戰鬥。
棗樹是全篇的主要形象,它的主要特徵是:“最長最直的幾枝(樹幹),卻已默默地鐵似的直刺着奇怪而高的天空,使天空閃閃地鬼〖目夾〗眼;直刺着天空中圓滿的月亮,使月亮窘的發白”,“一意要製他(指天空)的死命,不管他各式各樣的〖目夾〗着許多蠱惑的眼睛”。這是棗樹形象特徵的核心。
其次的特徵是“欠伸的很舒服”,“有幾枝還低亞着,護定他從打棗的竿梢所得的皮傷”。
再次的一個特徵是“他知道小粉紅花的夢,秋後要有春;他也知道落葉的夢,春後還是秋。”
意藴棗樹(形象)飽經滄桑,堅實挺拔,憎惡黑暗現實,頑強抗擊黑暗勢力,他善於戰鬥,也註意在戰鬥中保護自己,他堅韌不拔,不受反動勢力任何蠱惑,(精神)不剋厥敵,戰則不止,表現出一種頑強抗擊黑暗的韌性戰鬥精神。棗樹就像一個歷經戰鬥洗禮的老戰士。這個形象既是作者對這樣的戰士的熱情歌頌,也是魯迅自己的人格、精神和戰鬥豪情的詩意寫照。這就是棗樹形象所包含的意藴。
棗樹“知道落葉的夢,春後還是秋”,既反映了魯迅對鬥爭黑暗前景的麯折復雜長期性的清醒認識,也流露出他在當時尚未看清革命前途、尚未找到新的戰友時的苦悶和孤獨感。
2、天空、小粉紅花、小青蟲形象的各自特徵及其象徵意藴。
天空最主要的特徵是“將繁霜灑在我的圓裏的野花草上”使得人間草木凋零,衹剩下極細小的粉紅花還開着。此外,它“奇怪而高”,“仿佛要離開人間而去”,它“閃閃地〖目夾〗着幾十個星星的眼,冷眼。”“口角上現出微笑,似乎自以為大有深意。”在本篇中,由上面的一些特徵可以看出它對人間是不友好的,是居心叵測、不懷好意的。天空是黑暗暴虐的統治勢力的象徵,它兇惡狡黠而殘忍,但又色厲內荏,十分虛弱,這一形象傳達出作者對黑暗暴虐的統治勢力的憎惡和憤怒。這就是天空形象的象徵意藴。就特定時代背景而言,說天空是當時北洋軍閥統治勢力的象徵,也是可以的。
小粉紅花的特徵一是小,二是在夜霜侵襲下瑟縮發抖,三是在做着春天的夢,夢見瘦小的詩人將眼淚擦在她最末的花瓣上,告訴她蜂蝶紛飛的春會到來。小粉紅花是被社會黑暗勢力摧殘凌虐的弱小者,處境悲慘,她希求同情,她對未來抱有希望,現出微笑,作者在這一形象上寄寓了對被壓迫被摧殘的弱小者的深切同情。
小青蟲的主要特徵是頑強地追逐光,由室外而室內而玻璃罩而撞進去遇到火。它也很小,遍身蒼翠的可愛、可憐。它是熱忱追求
光明而不惜獻出生命的幼小者(青年人)的象徵,作者以“對着燈默默地敬奠着這些蒼翠精微的英雄們”表達了對他們的贊美和敬意。
3、《秋夜》運用象徵手法抒情的藝術特點。
《秋夜》以象徵手法抒情,抒發了對黑暗暴虐的統治勢力的憎惡和憤怒,對被壓迫被摧殘的弱小者的同情,對熱忱追求光明的幼小者的贊美,特別是表現和贊頌了抗擊黑暗,不剋敵戰不止的韌性戰鬥精神。
其特點是:
第一,抓住景物特徵。這是象徵意藴得以實現的基礎。
第二,抓住自然景物的特點,以擬人化手法描繪,把自然景物人格化,使得自然景物具有了現實生活的象徵意味,自然景物成為人間社會性格、精神的象徵體。
第三,這種擬人化描寫都融進了作者的主觀情思,寄寓着作者的愛憎,有不少地方還摻進了帶有強烈感情色彩的幻覺印象。
一幅棗樹和夜空的對峙圖,就是既寫實,又融進作者主觀情思與幻覺的象徵寫意圖。
象徵手法的成功運用,加上文筆的冷雋峭拔,使作品具有情景交融、境界幽深、寓意深遠、詩意濃郁的特點,啓發讀者作無限的聯想。
英語譯文:
楊憲益、戴乃迭1956年版
Autumn Night
Lu Xun
Behind the wall of my backyard you can see two trees: one is a date tree, the other is also a date tree.
The night sky above them is strange and high. I have never seen such a strange, high sky. It seems to want to leave this world of men, so that when folk look up they won't be able to see it. For the moment, though, it is singularly blue; and its scores of starry eyes are blinking coldly. A faint smile plays round its lips, a smile which it seems to think highly significant; and it dusts the wild plants in my courtyard with heavy frost.
I have no idea what these plants are called, what names they are commonly known by. One of them, I remember, has minute pink flowers, and its flowers are still lingering on, although more minute than ever. Shivering in the cold night air they dream of the coming of spring, of the coming of autumn, of the lean poet wiping his tears upon their last petals, who tells them autumn will come and winter will come, yet spring will follow when butterflies flit to and fro, and all the bees start humming songs of spring. Then the little pink flowers smile, though they have turned a mournful crimson with cold and are shivering still.
As for the date trees, they have lost absolutely all their leaves. Before, one or two boys still came to beat down the dates other people had missed. But now not one date is left, and the trees have lost all their leaves as well. They know the little pink flowers' dream of spring after autumn; and they know the dream of the fallen leaves of autumn after spring. They may have lost all their leaves and have only their branches left; but these, no longer weighed down with fruit and foliage, are stretching themselves luxuriously. A few boughs, though, are still drooping, nursing the wounds made in their bark by the sticks which beat down the dates; while, rigid as iron, the straightest and longest boughs silently pierce the strange, high sky, making it blink in dismay. They pierce even the full moon in the sky, making it pale and ill at ease.
Blinking in dismay, the sky becomes bluer and bluer, more and more uneasy, as if eager to escape from the world of men and avoid the date trees, leaving the moon behind. But the moon, too, is hiding itself in the east; while, silent still and as rigid as iron, the bare boughs pierce the strange, high sky, resolved to inflict on it a mortal wound, no matter in how many ways it winks all its bewitching eyes.
With a shriek, a fierce night-bird passes.
All of a sudden, I hear midnight laughter. The sound is muffled, as if not to wake those who sleep; yet all around the air resounds to this laughter. Midnight, and no one else is by. At once I realize it is I who am laughing, and at once I am driven by this laughter back to my room. At once I turn up the wick of my paraffin lamp.
A pit-a-pat sounds from the glass of the back window, where swarms of insects are recklessly dashing themselves against the pane. Presently some get in, no doubt through a hole in the window paper. Once in, they set up another pit-a-pat by dashing themselves against the chimney of the lamp. One hurls itself into the chimney from the top, falling into the flame, and I fancy the flame is real. On the paper shade two or three others rest, panting. The shade is a new one since last night. Its snow white paper is pleated in wave-like folds, and painted in one corner is a spray of blood-red gardenias.
When the blood-red gardenias blossom, the date trees, weighed down with bright foliage, will dream once more the dream of the little pink flowers and I shall hear the midnight laughter again. I hastily break off this train of thought to look at the small green insects still on the paper. Like sunflower seeds with their large heads and small tails, they are only half the size of a grain of wheat, the whole of them an adorable, pathetic green.
I yawn, light a cigarette, and puff out the smoke, paying silent homage before the lamp to these green and exquisite heroes.
September 15, 1924.
賞析:
《秋夜》是魯迅散文集《野草》的第一篇,發表於1924年12月。當時北京的政治環境正如魯迅所說:“實在黑暗的可以!”魯迅在北京與北洋軍閥的黑暗統治及封建勢力進行着韌性的戰鬥。他的內心是矛盾、痛苦又壓抑的,但是他具有頑強不倦的戰鬥精神,决不嚮黑暗勢力低頭。《秋夜》正是作者與舊社會抗爭到底的誓言。但受製於當時惡劣的環境,魯迅衹能采用一種隱晦的象徵主義的表現方法,把自己強烈的思想感情藏匿在景物描寫之中。
作品中“夜的天空,奇怪而高……閃閃地〖目夾〗着幾十個星星的眼,冷眼……將繁霜灑在我的園裏的野花草上。”這一段既是秋夜天空自然景色的真實寫照,又巧妙她通過擬人的手法勾勒出夜空的醜惡神情,暗喻出北洋軍閥統治的黑暗、殘忍、冷酷。作者着意刻畫的小粉紅花是一弱小者的形象。小粉紅花受着繁霜的打擊折磨已經瀕於絶境,然而卻還在冷的夜氣中“瑟縮地做夢”,夢想着溫暖的春天會到來,夢想着“瘦的詩人”會為它灑下同情的熱淚,並且告訴它“秋雖然來,鼕雖然來,而此後接着還是春”,它從這一夢想中得到了安慰。在極其險惡的環境裏,小粉紅花就是靠着對未來的夢想支持着自己的生存。作者對於小粉紅花的描繪,很符合當時許多青年知識分子的狀況。他們面對強大的黑暗現實,既想反抗又缺乏勇氣,既嚮往未來又感到前途渺茫,受着難忍的苦痛卻又經常表現出軟弱和動搖。作者對於小粉紅花一樣的廣大青年是有所批判的,但更多的是同情,是肯定的,是支持。作品中小青蟲的形象,是為追求光明而英勇獻身的正面形象。儘管作者對它的幼稚、天真、魯莽以及帶來的所謂犧牲,是很不贊成的,但從散文詩的意境和作品的發展脈絡來看,作者對小青蟲總的來說還是贊賞的,因為現實需要的是“不問成敗而要戰鬥着的人們”。魯迅對於小青蟲的描寫十分細膩,飽含着深情,活着的表示敬意,死了的表示祭奠。他是多麽地希望小青蟲們也能象棗樹那樣成熟起來,進行更有力的戰鬥啊!魯迅對於小青蟲的態度同他當時對待有朝氣的青年們的態度是一致的。
象徵性形象,具有某種不確定性,因此不宜過於指實,以免牽強附會,或限止了形象的更廣泛的意義。讀者可在理解形象特徵及形象之間的相互關係的基礎上,深入體味作者所要表現的思想感情,充分發揮聯想,把握作品的意義。
作品對棗樹的贊美,是全篇的核心。棗樹飽經滄桑,它雖然也受着夜空的摧殘,但它毫不動搖,它不是靠幻想來支撐自己,而是執着於現實的戰鬥,“他知道小粉紅花的夢,秋後要有春;他也知道落葉的夢,春後還是秋”,但它不管環境如何變化,衹是“默默地鐵似的直刺着奇怪而高的天空,使天空閃閃地鬼〖目夾〗眼;直刺着天空中圓滿的月亮,使月亮窘得發白。”,而且“一意要製他的死命,不管他各式各樣地〖目夾〗着許多蠱惑的眼睛。”這是一個清醒的戰鬥者的形象!作者在贊美棗樹韌戰精神的同時,在字裏行間也流露了某些苦悶的心境,棗樹是孤獨的,而且帶着“皮傷”,雖然不顧一切地在與夜空搏鬥,但對於前途也看得不甚明白,這正符合1924年前後作者的思想狀況。棗樹的形象,既是作者對頑強抗擊黑暗、不剋厥敵戰則不止的韌性戰鬥者的熱情頌歌,也是魯迅自己的人格、精神和戰鬥豪情的詩意寫照。
《秋夜》大量運用了象徵手法,創造了廣阔而深邃的詩的意境。作品中創造了天空、棗樹、小粉紅花、小青蟲等一組具有深刻意藴的象徵性形象。這些形象各具鮮明的特點,都具有特定的象徵意義,寄寓着作者特定的情思和理想,表達着作者獨特的生活感受。這些形象不是幹巴巴的自然景物的堆積,而是經過了作者主觀的改造,以能夠喚起讀者想象和聯想的、具體可感的象徵體形式體現出來。
《秋夜》巧妙地將哲理隱藏在充滿詩意的抒發中。魯迅筆下的天空、月亮、星星、惡鳥、棗樹、小粉紅花、小青蟲等都是自然景物,又都不完全是自然界中的景物本身,而是人格化了的,無不閃爍着思想和哲理的光芒,或激起人們的憎惡,或喚起人們的同情,或啓迪人們去思考。作者對這些具有象徵意味形象的抒情,創造了一種隱含哲理思索的詩的意境。 《秋夜》在語言運用上也比較適應象徵主義表現手法的需要。為了使語言更加符合人格化了的自然景物的特徵,魯迅特意選擇了許多有動有靜、有聲有色的語言,能夠構成畫面,能夠産生音響。讀後掩捲,那〖目夾〗着冷眼、灑滿繁霜的夜空;那窘得發白的圓滿的月亮;那默默地鐵似的直刺着奇怪而高的天空的棗樹;那凍得紅慘慘的瑟縮着作夢的小粉紅花;那撞在玻璃燈罩上丁咚作響的小青蟲……都還在眼前活動着,仿佛觸手可得。 |