所謂鴛鴦蝴蝶派，是清末民初出現的一個的文學流派。這一流派曾廣受大衆讀者歡迎，也曾廣受新文學界的批判，其影響非常廣遠，甚至於到了今天，還有人在批評所謂“媚俗、低級文化”時仍將他拿出來作為代名詞。
這一流派的作者群先後多達兩百餘人，分散在江蘇、浙江、安徽、江西一帶，後來集中到上海、天津、北京幾個大城市。開始沒有固定的組織，後來成立了青社與星社。包天笑為這一派的主持者，重要的代表人物有徐枕亞、張恨水、吳雙熱、吳若梅、程小青、孫玉聲、李涵秋、許嘯天、秦瘦歐、馮玉奇等。這些作傢、寫手所創作的作品題材廣泛，包括“相悅相戀，分拆不開，柳陰花下，像一對蝴蝶，一雙鴛鴦一樣”的才子佳人戀愛小說，鐵馬金戈的武俠小說，撲朔迷離的偵探小說，揭秘獵奇的社會小說……都是他們的拿手的題材。“鴛鴦蝴蝶”是以形象化的名稱來指謂民初的才子佳人的言情小說派別，但是由於這一流派的作傢不僅僅是寫才子佳人的戀情小說，因此用鴛鴦蝴蝶派命名已無法概括衆多題材的特色，於是，有人取該派最有代表性的刊物《禮拜六》名之，取其休娛、消閑功能而稱為《禮拜六》派。
在中國現代文學發展過程中，涌現過許多文學流派，鴛鴦蝴蝶派是其中重要而且特殊的一個派別。說其重要，是因為在“五四”前後的文學革命的時代大潮流中，他們是屬於重繼承和多保守的一個文學流派，屢遭新文學界的批判。在新文學營壘與該派的論爭和交鋒中，使新文學在文壇中擴大了自己的影響，日益茁壯成長。談及新文學運動就不可避免地牽涉到該派別。說其特殊，是因為由於受到新文學各派的的指責，使其中的有些作者長期以來不原承認自己是隸屬於該流派的成員，突出的例子是其代表作傢之一的包天笑否認自己是鴛鴦蝴蝶派。他曾說：“近今有許多評論中國文學史實的書上，都視我為鴛鴦蝴蝶派……我所不瞭解者，不知哪幾部我所寫的小說是屬鴛鴦蝴蝶派。”。該派有的作者衹承認自己是《禮拜六》派，而否認自己是鴛鴦蝴蝶派，他們通常所持的一個理由是，鴛鴦蝴蝶派是僅限於徐枕亞，李定夷等少數幾位作者，衹有民初那些寫四六駢儷體言情小說的纔是名實相符合的鴛鴦蝴蝶派。
鴛鴦蝴蝶派小說曾是新文化運動前文學界最走俏的通俗讀物之一。代表作之一徐枕亞的《玉梨魂》，曾創下了再版三十二次，銷量數十萬的紀錄。著名作傢張恨水的《嘀笑因緣》也曾先後十數次再版，其五大作傢“張恨水、包天笑、周瘦鵑、李涵秋，嚴獨鶴”的作品在報紙連載時，曾出現市民排隊等候報紙發行的場面。
但五四新文化運動、魯迅先生領導下的左翼文聯等新文化陣營，“在批判復古論調的同時，新文學陣營不斷地同鴛鴦蝴蝶派展開鬥爭”。他們認為鴛鴦蝴蝶派“文學”滋生於半殖民地的“十裏洋場”，風行於辛亥革命失敗後的幾年間，是在人民開始覺醒的道路上的麻醉藥和迷惑湯。雖然有少數作品在某種程度上暴露了社會黑暗、家庭專製和軍閥橫暴等等，但其總的傾嚮卻不外乎“卅六鴛鴦同命鳥，一雙蝴蝶可憐蟲”，正如魯迅說的是“新的才子+佳人”，“相悅相戀，分拆不開，柳蔭花下，象一對蝴蝶，一雙鴛鴦一樣”。標榜趣味主義，大都內容庸俗，思想空虛，“言愛情不出才子佳人偷香竊玉的舊套，言政治言社會，不外慨嘆人心日非世道淪夷的老調”。
然而，在閱讀鴛鴦蝴蝶派作傢的一些作品後，我們卻可以感覺到，這一類作傢的所謂靡靡之作，並非全都衹是單純的“以描寫‘才子佳人’為主，主要表現舊中國半封建半殖民地的落後思想意識，表現了病態社會中小市民階層的藝術趣味。”他們中不少，比如張恨水的《啼笑因緣》，比如包天笑的《滄州道中》等，或多或少的抨擊了當時社會的黑暗面，諷刺了當時社會的種種弊端，藉才子佳人或凄婉或悲涼的戀愛故事，歌頌或贊揚了抗日青年，反映了對當時社會男女不平等、貧富不均勻、等種種醜惡，在當時來說，與其同時代的一些極端宣揚封建復闢、迷信邪說的文學作品相比，是具有一定進步意義的。
那麽，為什麽長時間以來，對於這一“流派”，存在這樣那樣衆多的批判呢？
要想重新評價“鴛鴦蝴蝶派”並肯定其正確地位，我們首先有必要瞭解一下與鴛鴦蝴蝶派相關的一些歷史背景。
1906年，當時中國最大的通商口岸上海出版的報刊達到66傢之多，此時全國出版的報刊總數達到239種。這些報刊在發表政論新聞的同時，也發表詩歌和娛樂性質的文章，後來這些內容演變成了“副刊”，副刊的發展導致文學刊物的出現和單獨出版。其中，梁啓超創辦的《新小說》(1902)、李嘉寶主編的《綉像小說》(1903)、吳沃堯、周桂笙編輯的《月月小說》(1906)、吳摩西編輯的《小說林》(1907)是此時四大文學刊物。這些依賴通商口岸、現代都市和印刷出版工業及大衆傳媒體製而出現的都市文學刊物，一方面因適應了都市市民大衆的“消閑”、“娛樂”要求從而建立起市場和讀者群，一方面又為那些由於種種原因而脫離了傳統的“學優而仕”的人生事業格式的知識分子，從傳統文人嚮現代職業作傢的轉變提供了物質條件，使依靠報刊雜志、讀者市場和稿酬謀生的“作傢”這一職業得到確立，一批職業作傢由此在清末逐漸出現。《晚清小說史》中論及晚清小說的繁榮時指出：“第一，當然是由於印刷業的發達，沒有前此那樣刻書的睏難：由於新聞事業的發達，在應用上需要多量産生。”辛亥革命以後報刊雜志大增，據統計，僅1911年，報刊雜志就達500種，從晚清到1917年文學革命之前，單是以小說命名的文學雜志就以近30種這衆多的報刊雜志以及相應的印刷出版體製的産生與形成，本身就是社會現代化的産物，它們又共同構成了文化、文學的生産消費體製、公衆傳媒體製和“文化公共空間”。
在辛亥革命後出現的鴛鴦蝴蝶派小說，正是依賴這種體製化的報刊雜志(文化産業和文化公共空間) 和滿足都市市民文化消費需要而大行其道的，鴛鴦蝴蝶派小說的炮製者也因此成為依賴報刊雜志、傳媒體製和稿費謀生的專業化、職業化作傢。（不過，儘管清末民初的這些文人在中國社會的現代化歷史變遷中已轉變為職業作傢，但是他們自己還沒有自覺意識到這種身份角色的現代性變化，也沒有將文學職業化、作傢職業化作為明確的目標公然提出和申明）。
鴛鴦蝴蝶派中較著名的作者張恨水、嚴獨鶴、周瘦鵑、徐枕亞、包天笑、陳蝶仙等。他們大都是既編輯又創作，有的還兼翻譯。最初的鴛鴦蝴蝶派文學主張是趣味第一，主要描寫婚姻問題，有的作品反映了一定的社會內容，有一定的積極意義。鴛鴦蝴蝶派以文學的娛樂性、消遣性、趣味性為標志，曾一度轟動文壇。
對於某些批判鴛鴦蝴蝶派的結論，歸納起來，大致有下列三點：一、在思想傾嚮上，認為該派代表了封建階級（或日垂死的地主階級）和買辦勢力在文學上的要求，是遺老遺少的文學流派，或稱是“一般逆流“；二、認定這是十裏洋場的産物，是殖民地租界的畸形胎兒，三、這一流派屬幫閑、消遣文學，是遊戲的消遣的金錢主義文學觀念的派生物。以上的這些論點是有明顯偏頗的，與大量作品對照，“定論”與客觀存在的實際相去甚遠。
而現實中，有些批判往往是對某種現成的論點的轉輾傳抄。傳抄得多了，某些現成的論點就成為“衆口一詞”的定論。於是這一定論又為人們所“習相沿用”，如此循環往復，篤信彌堅。但是越對該流派瞭解深入，就會不可避免的對所持的過去的“批判定論”産生應有的、必要的疑竇。
其實，對於鴛鴦蝴蝶派的正確解釋，應當是：清末民初大都會興建過程中出現的一個承襲中國古代小說傳統的通俗文學流派。這一流派一直得不到新文學界各派別的承認，是有其很復雜的歷史背景的：時代潮流的激蕩，文學觀念的演進，讀者心態的變異等多方面的原因，再加上其本身的先天的缺陷，都决定了它必然要經歷一段受壓抑的歷程。該派與“新派”文學之間的論爭，說到本質上，也就是“通俗”文學與“嚴肅”文學，“平民”文學和“革命”文學之間的矛盾的産物。
鴛鴦蝴蝶派的代表作傢之一包天笑曾談及他的創作宗旨是：“提倡新政製，保守舊道德”。這十個字是極凝煉概括地代表了這一流派大多數作者群的思想實況。這與“五四”前後興起的新文學運動中的極力提倡科學，反封建的宗旨是相違背的。在形式上，鴛鴦蝴蝶派則以長篇章回體小說為其特色，而短篇最可讀的首推傳奇故事，也即他們仍然承襲的古代白話小說的傳統。而新文學在初創階段就主動摒棄章口體，而重點致力於短篇小說的創新上。這樣、在“五四”揭開新民主主義革命序幕時，在新文學陣營眼裏，他們還“拖着一條無形的舊民主主義的辮子”，而他們在作品中的某些傳統意識，必然與新文學營壘形成一對矛盾。由於內容和形式上的分道揚鑣，“五四”前後新文學界對該派的主動出擊是無可避免的，既是歷史的必然，也是創新的必需。在歷史發展的進程面前，我們完全可以理解這場批判的必要性和必然性。
在五四時期對鴛鴦蝴蝶派的另一嚴重批評是抨擊它的遊戲消遣的金錢主義的文學觀念。這是有關文學功能方面的原則分歧。學功能應該是多方面的。它應該有戰鬥功能、教育功能、認識功能、審美功能、娛樂功能……等等。
每當迎來歷史變革的潮汐或革命大波襲來的前夜，文藝的戰鬥功能和教育功能總是會被強調到極端重要的地步。在近代文學中梁啓超就是鼓吹這方面的功能的代表人物。他說：“欲新一國之民，不可不先新一國之小說。故欲新道德，必新小說；欲新宗教，必新小說：欲新政治，必新小說；欲新風俗，必新小說；欲新學藝，必新小說；乃至欲新人心，欲新人格，必新小說。何以故？小說有不可思議之力支配人道故。”
梁啓超將小說提高到“大道中的大道”的高度，小說就成了“大”說，成為救國救民的靈藥。但在中國文學傳統中，小說一直被視為“小道中的小說”。新文學作傢朱自清是看到了這一點的：“在中國文學的傳統裏，小說和詞麯（包括戲麯）更是小道中的小說，就因為是消遣的，不嚴肅。不嚴肅也就是不正經；小說通常稱為“閑書”，不是正經書……鴛鴦蝴蝶派的小說意在供人們茶餘酒後消遣，倒是中國小說的正宗。中國小說一嚮以“志怪”、“傳奇”為主，“怪”和“奇”都不是正經的東西。明朝人編的小說總集所謂“三言二拍”……“拍案驚奇》重在“奇“很顯然。“三言”…… 雖然重在“勸俗”，但是還是先得使人們“驚奇”，才能收到“勸俗”的效果……《今古奇觀》，還是歸到“奇”上。這個“奇”正是供人們茶餘酒後消遣的。”
鴛鴦蝴蝶派的成員是這一傳統功能觀的自覺世襲者。姚鶴雛在《小說學概論》中引經據典他說：“依劉嚮《七略》及《漢書·藝文志》，小說出於‘街談巷語，道聽途說’，則其所載，當然多屬‘閑談奇事’；又觀《七略》及《隋書·經籍志》所錄，則‘凡各著藝術立說稍平常而範圍略小巧者，皆可歸於小說’。‘其所包舉、無非小道’。”
這種文學的功能觀與當時提倡血和淚的文學且具有歷史使命感的革命作傢就構成了衝突。由瀋雁冰和周作人發起的文學研究會對“將文藝當作高興時的遊戲或失意時的消遣”的文學觀及在這種文學觀引導下産生的文學現象提出了批評。如果將這種批評進行“語境還原”的話，那種被視作遊戲或消遣的文學，無疑指的是清末民初以來的所謂“黑幕文學”、“狹邪小說”，指的就是“鴛鴦蝴蝶派”等依賴報刊雜志和讀者市場的大衆通俗文學。瀋雁冰和周作人，此前此後發表了很多批評“禮拜六派”、“鴛鴦蝴蝶派”等遊戲消遣文學的言辭文章。
而且不僅是文學研究會諸人，在“五四”歷史文化語境中，新文化陣營中的幾乎所有人都把鴛蝴派文學當作封建舊文學的餘孽、當作建立新文學的障礙和對立物而痛加批判與否定。新文學作傢認為鴛鴦蝴蝶派文學不僅是創建新文學的絆腳石，而且它們的消閑遊戲觀念和傾嚮更大有害於國民性的改造和重建、有害於人生社會的改良和更新、有害於中國從“邊緣”重返“中心”的努力、有害於現代民族國傢的實現，一句話，有害於中國現代化歷史目標和“強國夢”的實現。因此，出於這種以民族國傢為終極關懷的啓蒙文學觀的立場和追求，文學研究會以及新文學陣營對鴛鴦蝴蝶派等遊戲消閑類的都市通俗文學發出了激烈的批判之聲，而且，“五四”以後新文學對都市通俗文學的輕衊和批判依然沒有終結，對武俠影片《火燒紅蓮寺》為代表的武俠小說、偵探言情小說以及所謂的“小市民文藝”，包括魯迅和茅盾在內的新文學作傢也都予以了痛擊。
新文學陣營對上述的都市通俗文學的批判，從其啓蒙文學觀和為新文學的創立與發展開闢道路、開拓空間的角度來看，有其歷史的合理性與必要性。他們之對鴛蝴派等都市通俗文學的批判清理，是因為他們認為此類文學根本上不利於甚至是妨礙着中國成為現代民族國傢，妨礙着中國走嚮進步，所以，必欲批判之鏟除之，他們是為了這一根本的現代性使命而進行了對“舊世界”的批判和清理。在這些追求中國文學現代化的先驅者看來，那些以遊戲消遣娛樂消費為目的的文學，儘管比新文學誕生得早或與新文學同時存在，但它們卻不具有絲毫的現代性，而是歷史和時代的垃圾。革命作傢的使命在於用他們的小說啓發和培養一代民族精英。因此，遊戲與消遣功能在現代文學的歷史階段中常被視為玩物喪志的反面效應而一再加以否定。
但“娛樂”既然是文學本身的功能之一，人們就衹能在某一特定時期對它加以否定而去約束它，以便突出其他的功能，卻無法徹底剝奪這種功能的本身。即使在特別需要發揮文學的戰鬥功能的歲月裏，都市中的別一層次的讀者，仍然停留在將小說看成“小道中的小道”的梯階上，那就是一般意義上的大衆，或稱“俗衆”也可以。首先在“俗衆”看來，小說發揮遊戲與消遣效應是他們調節生活的一種需要。隨着新興大都市的成型和工業機器齒輪的轉速越來越快，都市通俗小說的需求量也激升。生活節奏頻率的空前增速，人們覺得腦力和筋肉的弦綳得太緊，工餘或夜晚需要鬆弛一下被機械絞得太緊的神經。這就需要娛休，而讀小說就是娛樂和調節的方法之一。其次，當四周生活像萬花筒般變異的環境裏，特別是像上海這樣新興的大都市，光怪陸離，五光十色，瞳勉擔越，無奇不有。一般的“俗衆”也希望通過都市通俗文學去瞭解四周的環境，以增強適應性，不致茫茫然地跌人生活陷餅。第三，這些“俗衆”一般都缺乏新興意識，但是他們也在通俗文學中接受某種教育，即在茶餘酒後閱讀通俗文學，在拍案驚奇中受到潛移默化的教誨與懲戒。因此，在近現代文學革命中，這一流派不是面嚮民族精英，而是主要面嚮一般意義上的大衆，因而可以稱他是一種市民文藝，“平民”文學。
但是它也並非與知識分子讀者無緣，在知識分子階層中，比較明顯分成兩種類型：一種是喜愛新文藝的讀者，他們常為文學功能觀的矛盾而排斥通俗文學：另一種平日對新舊兩派的小說部涉獵例覽，又往往為通俗文學的趣味性和可讀性所吸引，為其引人入勝的故事情節、緊張驚險的懸念所牢牢控製，在富有兢力的優秀通俗文學作品面前，他們也手不釋捲，廢寢忘食。但問題是他們並不在公開場合中贊揚或介紹通俗文學，為其製造良性評價的輿論。似乎被通俗文學所吸引是有失身份的一種表現，因為部分知識分子一直視通俗文學是低級趣味的同義詞。這就構成了一種表裏不一的矛盾：“ 暗裏讀得津津有味，明裏卻不願津津樂道”，“感情上被它打動過，理智上認定它低人一等”。這種微妙的心態是一種“猶抱琵琶半遮面”的心理分裂癥。
不論是一般“俗衆”或是部分知識分子，被通俗文學所吸引的磁力皆來自趣味性，而趣味性正是達到遊戲、消遣目的的必備要素，也是娛樂功能的靈魂。趣味性還是通俗文學進行“勸俗”和“教化”的媒介和橋梁。但是趣味性一度被新文學家看成是“玩物喪志”、 ”醉生夢死”的麻醉劑，以致朱自清也發生這樣的感啃：“但是正經作品若是一味講究正經，衹顧人民性，不管藝術性，死板板的長面孔教人親近不得，讀者恐怕更會躲嚮那些刊物裏去。”魯迅也曾說：“說到‘趣味’那是現在確已算一種罪名了，但無論人類底也罷，階級底也罷，我還希望總有一日弛禁，講文藝不必定要‘沒趣味’。”同時魯迅還說：“在實際上，悲憤者和勞作者，是時時需要休息和高興的。”這正說明了趣味性和娛樂功能是無罪的。而通俗文學是着眼於可讀性、情節性。講究情節麯折，峰口路轉，跌宕多姿，高潮迭起。在中國的現代通俗小說讀者中出現過“《啼笑姻緣》、《金粉世傢》迷”就是從有趣味而逐漸進入陶醉的境界，以致達到了消遣娛樂的效果。這與我們七十，八十年代的“武俠”小說迷，“金庸”迷；“古竜”迷；以及“言情”小說“瓊瑤”迷等很是相似。這也說明通俗文學是有其存在的旺盛力的！
據說，在美國，過去許多學者對通俗文化也持否定態度，認為它們僅是庸俗文學和文學垃圾而已。但是在二次世界大戰之後，“美國學”興起。學者對通俗文化開始從輕視轉為重視，從主觀轉為客觀，從片面轉為全面。他們認識到，通俗文藝能歷史地反映某一時間長鏈中讀者心態和價值觀的變化。“這些暢銷書是一種有用的工具，我們能夠透過它們，看到任何特定時間人們普遍關心的事情和某段時間內人們的思想變化。”日本的尾崎秀樹在他的《大衆文學的歷史》一書中寫道：“說起大衆文學，一般是指能夠大量生産、大量傳播、大量消費的商業性文學。就內容而言，是為大衆娛樂的文學，但不衹是單純的有趣，也起着通過具體化的方式給大衆提供其所不知道的事物的作用……由於日報百萬數的突破，新聞係統周刊的創刊……本來與小說無緣的階層變成了接受者，這就期待適應不僅本來熱衷文學、還有未經文學訓練的讀者要求的小說。……大衆文學是與大衆一起産生，而又是大衆意識的反映。”這位研究日本通俗文學頗有建樹的學者的一席話，對我們很有參考價值。
鴛鴦蝴蝶派的興起可謂生不逢時，五四時期，在中國小說從傳統型改道轉軌為現代型的過程中，開始總要與民族舊形式呈决裂的態勢，以期符合世界潮流的新形式。這就會有一番大革命、大劇變，對內容中的傳統意識和形式中的傳統框架，總要有一番大革新和大突破。這就必然會與仍然堅持承襲中國傳統的文學流派産生大碰撞。新興意識和革新形式總要在大搏戰中爭得自己的文壇領土，否則它難於有立錐之地。對傳統的精神産品，總要有人來嚮它進行大膽的挑戰，對世襲文壇的權威總要有人去撼動它的根基，然後纔會有創新的極大的自由。文學研究會在宣言中宣告：“將文藝當作高興時的遊戲或失意時的消遣的時候，現在已經過去了。我們相信文學是一種工作，而且又是於人生很切要的一種工作：治文學的人也當以這事為他終身的事業，正同勞農一樣。”這段話的指嚮當然是以鴛鴦蝴蝶派為否定目標的。所以鴛鴦蝴蝶派首當其衝，其實是作了革命文學的反面教材。
客觀上說這個繼承中國古典小說傳統革新發展意識不強的都市通俗文學流派，在現代文學的發展歷史上，雖有其局限性，卻也作過一定的貢獻。其中的很多文學作品是非常不錯的，與新文學的某些同類題材相比，也是毫不遜色的。“黑幕狹邪”鴛鴦蝴蝶派文學，在根本上是中國社會現代化和文學現代化追求的産物，它們本身就是現代性事物。
其實，鴛鴦蝴蝶派當初問世之時，甚至標榜的是“新小說”，直接承繼晚清“新小說”而來，接受了西方小說的影響，為中國小說的發展，作出過重要的貢獻：中國第一本正面描寫和尚戀愛的小說，是被周作人稱為鴛鴦蝴蝶派的祖師蘇曼殊寫的《斷鴻零雁記》。中國第一本歌頌寡婦戀愛的小說，是鴛鴦蝴蝶派的代表作《玉梨魂》。中國第一本長篇日記體小說，是《玉梨魂》作者徐枕亞寫的《雪鴻淚史》。中國第一篇書信體小說，是鴛鴦蝴蝶派主將包天笑的《冥鴻》。無論在內容還是在形式上，鴛鴦蝴蝶派都有所創新。在民初的文壇上，無論從大量運用文言創作還是從內容與形式的創新來看，鴛鴦蝴蝶派都代表了當時中國文學的水平。它同時創作純文學與通俗文學。五四新文學的崛起，一種更新的純文學問世，逼着鴛鴦蝴蝶派完全走嚮通俗文學。抗拒這一轉化的徐枕亞、李定夷、吳雙熱等人先後離開了作傢隊伍，順應這一轉化的包天笑、周瘦鵑等則占據了通俗文壇。從純文學與通俗文學的雙棲，轉化為完全的通俗文學，决定了通俗文學接受純文學的影響，表現為純文學對通俗文學的滲透。例如中國的通俗小說，本來是偏重於故事情節的，這時大量運用心理描寫、情景描寫，也註重展示人物的內心世界。從二十年代到四十年代，可以看到通俗小說從傳統的“章回體”變為現代小說，其間充滿了純文學對通俗文學的滲透。發展到瓊瑤、金庸的小說，衹是在題材上沿襲了傳統的“言情”、“武俠”，小說的思想情感，形式內容與傳統通俗小說相比，已經完全現代化了。當代小說，純文學與通俗文學的界限越來越不明朗：一些被視為是純文學的作品，按西方標準應當算通俗小說；一些從來被視為通俗小說的，如金庸的作品，被一些大學講壇認為是純文學。也許，這本身就可以證明純文學與通俗文學之間的差距已經縮小到何等地步。
雖然按照五四新文學的標準，這些創新還不夠，作傢不敢打倒封建禮教，不敢讓戀愛的和尚、寡婦與戀人結婚，而且頗有媚俗的傾嚮，但是，文學史的評價，畢竟是根據它比前人多提供了什麽。因此，新文學有理由批判鴛鴦蝴蝶派，如今的文學史傢卻不能否認鴛鴦蝴蝶派作出的貢獻。對鴛鴦蝴蝶派，過去有若幹不公允或誤解性的評價以致定論，是偏頗的，是以“革命文學”的名義對其全面的否定，是一種不科學的學術氛圍下的産物。我們今天對待這一流派，應當正確認識其歷史與地位，肯定其歷史意義。客觀的去看待他，客觀的去看待中國近代的文學史。
The so-called Butterfly, is the emergence of a Late Qing Dynasty literary genre. The school has been welcomed by the general reader, have widely affected by the new literary criticism, its impact is far-reaching, even to this day, also criticized the so-called "vulgar, vulgar culture" will he come up with as a synonym.
The authors of this genre have as many as two hundred people, scattered in Jiangsu, Zhejiang, Anhui, Jiangxi area, was concentrated in Shanghai, Tianjin, Beijing, several big cities. There is no fixed organization began, and later established the Youth Club and Star Club. Package-day laugh as the host of this school, there are important representatives Xu Zhenya, Zhang Henshui, Wu dual heat, Strips, Xiaoqing, Sun Sheng, Li Han Qiu, Xu Xiaotian, Qin thin in Europe, Feng Yuqi so. These writers, writers have created works of wide range of topics, including "gracious in love with is not split open, Liu Yin spend the next, like a pair of butterflies, a pair of mandarin ducks as" the Romantic love stories, martial arts novels of iron Majin Ge , confusing the detective novel, revealers of secrets novelty of the social novel ... ... are they good at the subject. "Butterfly" is the name to refer to visualize and Beauty in the romantic novels that the Republic of China faction, but because the writers of this genre romance of Beauty and not just write novels, it can not be summarized with the Butterfly has many names subject characteristics, then, was sent to take the most representative publication "Saturday" name of the stops off entertainment, leisure functions known as "Saturday" faction.
In the development of modern Chinese literature, the emergence of many literary genres, Butterfly is one of the important and special one faction. That its important, because "54" before and after the revolution of the times literary trend, they are more conservative heavy inheritance and a literary school, repeated the new literary criticism. In the new camp and the camp literary debate and confrontation in the new literature in the literary world to expand their influence in the increasingly grow. On the new literary movement will inevitably involve the factions. That their special, because due to the new literature of the accused parties, to which some of the original a long time does not admit that he is a member belonging to the genre, highlighting the example of one of its representative writers deny packet-day laugh is the Butterfly. He said: "Today there are many comments in recent historical books on Chinese literature, are regarded as the Butterfly ... ... I do not know who I am, I do not know which of several novels written by me is Butterfly.". Some of the school admitted only that he is "Saturday" school, but denied that he was Butterfly, they are usually held one of the reasons is that Butterfly is limited Xu Zhenya, Li Ding Yi and a few some of the only people Parallelism who was 46 in early body of Name of Love Stories is consistent with the Butterfly.
Butterfly novel was a literary culture before exercise one of the most popular books in fashion. One representative Xu Zhenya's "Jade Pear", has _set_ a 30 second edition, sold hundreds of thousands of records. Profound and famous writer, "tick laugh cause" also has scores of print, its five authors, "Zhang Henshui, including day to laugh, Zhou Shoujuan, Li Han Qiu, Yan Duhe" series in the works in the newspaper, there have been people waiting in line newspaper published scene.
Why, then, a long time for this "genre", the existence of such criticism, as many do?
To re-evaluation of "Butterfly" and confirmed its correct position, we first need to know some history and background related to Butterfly.
1906, Shanghai was China's largest trading ports to 66 newspapers published in as many newspapers and periodicals published in the country at this time the total number of 239. these newspapers in his Political News also published articles in the nature of poetry and entertainment, the evolution of these elements later became the "Supplements" supplement led to the development of the emergence of literary magazines and a separate publication. Among them, Liang founded the "New Fiction" (1902), Li Jiabao editor of the "Portrait Novel" (1903), Wu Yao, Gui-Sheng editor of "Monthly Fiction" (1906), Miss Moses, editor of "novel forest" (1907 ) is now four literary publications. These rely on the treaty ports, urban and modern printing and publishing industry and mass media institutions and the emergence of urban literature publications, on the one hand to adapt to the city because of the public, "leisure", "Entertainment" Request to establish a market and audience, on the other hand for those who for various reasons, from the traditional "school excellence and official" cause of the format of the intellectual life, from traditional to modern professional writers scholars provided the material conditions change, so rely on newspapers and magazines, the reader market and the remuneration Mousheng's " writer, "the profession has been established, a group of professional writers gradually emerged in the late result. "History of Late Qing Fiction," addressed the prosperity of the late Qing fiction, said: "First, of course, because of advances in the printing industry, there is no book before this, as difficult moment: As the news industry developed, the applications need many produce. "Revolution greatly increased after the newspapers and magazines, according to statistics, only in 1911, reached 500 newspapers and magazines, from the late Qing Dynasty to the literary revolution of 1917 before the single is a novel named literary magazine on the nearly 30 species of this large number of newspapers printing and publishing magazines and the corresponding system of production and the formation itself is a product of modern society, which they constitute the cultural and literary production and consumption systems, the public media system and the "culture of public space."
After the 1911 Revolution the traditional literary fiction, is dependent on this system of newspapers and magazines (cultural industries and cultural public space) and to meet the needs of urban public culture, popular consumption, the Butterfly has cooked up the novel has also become dependent on newspapers and magazines, the media system and royalties to earn a living in professional, professional writers. (However, although the Late Qing Dynasty, these scholars in modern Chinese society has been transformed into historical changes in the professional writers, but they themselves do not consciously aware of this status change in the role of modernity, nor the professional literature, professional writers of clear objectives as proposed and stated publicly).
Butterfly of the more famous Zhang Henshui, Yan Duhe, Zhou Shoujuan, Xu Zhenya, including days of laughter, Chen Xian and other butterflies. Both of them are creative editing it, in some cases and translator. Butterfly original literary ideas is the first taste, the main description of marital problems, some works reflect a degree of social content, has some positive significance. Butterfly with literary entertainment, recreation, fun for the signs, once literary sensation.
Butterfly certain critical conclusions, summed up, there are the following three points: First, the ideological tendencies, that the representatives of the feudal class (or the day dying landlord class) and comprador forces in the literature requirements, is Yilaoyishao literary genre, or a "general counter-current"; two, that this is miles foreign market the product of the colonial _set_tlements of the abnormal fetus, three, this school is Bangxian, recreation literature, is the game's entertainment money Doctrine Literary Concept derivatives. These arguments are more obviously biased, and a large number of works were "conclusive" and far from objective reality exists.
But in reality, there often is a ready-made criticism of the arguments of Zhuanzhan private copies. Much more private copies of some ready-made argument on a "unanimous" conclusion. So the conclusion then was that people "follow the learning phase", so the cycle, believe in solid. But the more in-depth understanding of the genre, it will inevitably hold the past against the "critical findings" should produce the necessary suspicion.
In fact, the correct interpretation for the Butterfly, should be: Late Qing Dynasty city occurred during the construction of an inherited tradition of the popular ancient Chinese literary genre fiction. This school has not recognized the new literary factions, there is a very complicated historical background: the surging trend of the times, the evolution of literary ideas, mind readers, and many other reasons for the variation, together with its own congenital defects, have decided it must go through a process repressed. The School and the "new style" debate between literature, said in essence, that is "popular" literature and "serious" literature, "civilian" literature and "revolutionary" product of the contradiction between the literature.
Butterfly of the representative writer of the package-day laugh talked about his creation is: "to promote a new system, the conservative old morality." Those words are generally very concisely represent the majority of the authors of this genre ideas live. This "54" before and after the rise of a new literary movement in the efforts to promote science, anti-feudal is contrary to the purposes. Formally, Butterfly Zeyi long chapter in the fictions of its character, and the most readable of the devaluation of short tales, but also that they still inherited the ancient tradition of vernacular fiction. The new literature in the initial stage of the initiative to abandon the body of Chapter I, and focus efforts on short stories of innovation. In this way, "54" kick off the new democratic revolution, the camp in the eyes of the new literature, they also "dragging an invisible old pigtail democracy" while they work in some traditional sense, inevitable and the formation of a new literary camp a contradiction. As the content and form of parting ways, "54" before and after the literary world of the camp to take the initiative is inevitable, is a historical necessity, but also the necessary innovation. In the process of historical development before we can fully understand the necessity and inevitability of this criticism.
Period in the 54 Butterfly Another serious criticism of the criticism it is the game of literary entertainment of the Marxist concept of money. This is the literary function of the difference of principle. School function should be multifaceted. It should have a combat function, educational function, cognitive function, aesthetic function, entertainment ... ... and so on.
When the historical changes ushered in the revolutionary tide or large wave hit the night before, literary functions and educational functions of the fighting will always be stressed to the point of extreme importance. Liang in modern literature is the advocacy function of this representative. He said: "For the new one people, not without first new country of the novel. Guyu new ethics will be a new novel; For the new religion, will be the new novel: For a new politics, will be the new novel; For new customs, will be the new novel ; For new talents, will be the new novel; even want new people, want a new character, will be the new novel. Why is that? the power of fiction has dominated humanity so incredible. "
Butterfly members are conscious of this traditional concept of hereditary those functions. Hok Yao child in "Introduction to Fiction," in the quote the classics, he said: "according to Liu Xiang" seven strategic "and" Han Dynasty History ", the novel for 'Street on Gossip, hearsay', then it contains, of course, mostly 'chat wonders '; another view of the "seven strategic" and "Sui Shu Jing Ji Zhi" was recorded, then the' where all the arts and wrote a little ordinary but who are slightly small, may apply attributed fiction '.' it bag held nothing but path '. "
And not only will Morohito literature, in the "54" historical and cultural context, culture camp, almost all regarded as Mandarin Duck and Butterfly School Literature Literature in the old feudal remnants, as new obstacles and opposition literature material from a crushing criticism and negative. Butterfly Literature New Literature that is not only a stumbling block to create a new literature, and their concept of leisure games and more harmful to the tendency of the transformation and reconstruction of national character, detrimental to the social life improved and updated, harmful to China from the "edge "return" center "of the effort, detrimental to the realization of the modern nation-state, word, harmful to the history of China's modernization goals and" dream of a powerful "implementation. Therefore, for this to the nation-state as the ultimate concern of the Enlightenment view of the position and the pursuit of literature, literary studies, and new literature will camp on the Butterfly and other popular games leisure class city issued a fierce criticism of literary voice, and, "54" after the new literature on urban contempt and criticism of popular literature is still no end to the martial arts film "Burning the Red Lotus Temple" as the representative of the novels, detective romance novels and so-called "citizen art", including Lu Xun and Mao Dun, including The New Writers also be a blow.
But "entertainment" since it is one of the functions of literature itself, one can only in a specific period of time constraints it away to deny it in order to highlight other features, but can not be completely deprived of this function itself. Even in the particular function to play the battle of literature the years, the city's other one-level reader, still remains at the novel as "the trail of the trail," the ladder on that general sense of the public, or "laity" will do. First of all, the "vulgar masses" seems to play a game and entertainment novel effect is a kind of life they need adjusting. With the new metropolis of molding and industrial machinery gear speed faster and faster, the demand for popular fiction urban surge. Unprecedented growth pace of life frequency, people feel that mental and muscles of the string stretched too tight, night after work, or need to relax by the neural machinery twisted too tightly. This requires entertainment break, and reading novels is one way of entertainment and regulation. Second, when the variation around life like a kaleidoscope-like environment, in particular the emerging metropolis such as Shanghai, bizarre, colorful, Hitomi Mian worry more, full of wonders. General "popular masses" and hope that through popular literature to understand the surrounding urban environment, to enhance adaptability, not quite knowing what to or living Xianbing. Third, these "popular masses" generally lack the emerging awareness, but they also receive some education in the popular literature, that Chayu drink read popular literature, in the end of surprises in the teachings and discipline are subtle. Therefore, the revolution in modern literature, this genre is not for the national elite, but mainly for the general sense of the public, and can say he is a public art, "civilian" literature.
Whether general "laity" or part of the intellectuals, was attracted by the magnetic popular literature are from interesting, but it is interesting to the game, an essential element of entertainment purposes, but also the soul of entertainment. Interesting or popular literature to "persuade vulgar" and "enlightenment" of the media and bridges. But the interesting new writers, once as "Wanwusangzhi," "tragic death" of narcotic drugs, which also occurred in such a sense of Ziqing bite: "But if the blind serious attention to serious work, only to the people, regardless of artistic, Si Banban long teach people not close to face, I am afraid the reader to those publications will go hide. "Lu Xun once said:" Speaking of 'fun' it is indeed now considered a kind of charges, but both matter whether the end of mankind, matter whether the end of class, I also hope there will one day Rescinding the Prohibition, art is not bound to say 'no fun'. "Lu Xun also said:" In fact, the anger and the laborers, are always needed rest and happy. "This illustrates the interesting and entertainment is innocent. The popular literature is to focus on the readability of the plot. Stress plot twists and turns, peaks I Road, and turn, the ups and variety, one climax after another. In modern China, readers of popular novels appeared, "" Sadness and Happiness Marriage "," Noble Family "fans" is interesting from a gradually into the enchanted realm, which reached the entertainment effect. This is our seventies and eighties of the "martial arts" fan fiction "Jin" fan; "Gu" fans; and "Romance" novel "Qiong Yao" fan so it is similar. This also explains the existence of popular literature is the strong force!
It is said that in the United States, as many scholars have held a negative attitude toward popular culture, that they only just vulgar literature and literary garbage. But after World War II, "American School" rise. Scholars of popular culture began to neglect to attention, from the subjective to the objective, from partial to full. They recognized, popular art can reflect a long history of the chain mentality and values of the change in the reader. "These best-selling book is a useful tool, we can, through them, see any particular time and matters of general interest within a certain period of time to change people's thinking." Hideki Ozaki of Japan in his "Popular Literature History "writes:" Speaking of popular literature, generally refers to mass production and mass dissemination of a lot of consumption of commercial literature. the content, is the literary entertainment for the public, but not simply interesting, also plays the way through the concrete to the public to provide the things they do not know the role of ... ... As the number of daily breakthrough in millions, news system, the imperative for weekly ... ... originally missed the class and the novel became a receiver, which look have been keen to adapt not only literature, but also the training of readers without a literary novel. ... ... Mass production together with the public literature, but is a reflection of the public consciousness. "The many achievements of Japanese popular literature scholar remarks , a good reference for us.
The rise can be described as untimely Butterfly, 54 days of the Chinese novel diversion from traditional to modern transition process, beginning always with the national trend to break the old forms were, in order to meet the global trend of new forms. This will open up a revolution, big drastic changes in the traditional sense of the content and form of the traditional framework, there must be some great innovation and breakthrough. This will inevitably and still insists that inherited the traditional Chinese literary genres have a big impact. New forms of consciousness and innovation always win in the big Bozhan in his literary territory, or it difficult to have almost deprived of accommodation. The spirit of the traditional product, it is always someone to carry out bold challenge to the authority of the hereditary literature always someone to shake its foundation, and will have great creative freedom. Literature declared in the declaration: "the art of the game as happy or frustrated when the pastime when the time has now passed. We believe that a work of literature, and also in the very life of a work proposal of Re : governance literature to this issue when people in his life-long career, working with farmers as workers. "is of course point to this passage Butterfly negative goals. Butterfly bear the brunt of it, actually made a negative example of revolutionary literature.
Objectively, the inheritance of traditional Chinese classical novel a strong sense of innovation in the development of urban popular literary genre of modern literature in the history of development, despite its limitations, it also made some contribution. Many of these literary works are very good, and the new literature than some similar themes, but also no less. "Inside Story courtesan" Butterfly literature, is essentially modern Chinese society, the pursuit of modernization and product literature, which itself is a modern thing.
In fact, the Butterfly had the time came, and even advertised the "new novel", a direct inheritance of the late Qing "new novel" came to accept the Western Novel, for the development of Chinese fiction, and have made important contributions: China The first description of a monk in love fiction front, known as the Butterfly was the patron god of ren shu book, "Wild Goose in mind." Widow praises China's first love in this novel, is the Butterfly's masterpiece "Jade Pear." China's first full-length novel diary is "Jade Pear" by Xu Zhenya book, "Tears of the history of snow-hung." China's first novels, is the Butterfly Lord Bao Tien laugh, "Ming-hung." Both in content and in form, Butterfly has the innovation. In the Republic of China's literary world, from the extensive use of classical Chinese art or the content and form of innovation from the point of view, Butterfly represents the level of Chinese literature at the time. It also created pure literature and popular literature. 54 The rise of new literature, an update of pure literature appeared, forcing the Butterfly entirely to popular literature. To resist this transformation Xu Zhenya, Li Ding Yi, Wu, who has dual heat left the writer team, adapt to this transformation pack day to laugh, Zhou Shoujuan popular literature such as the occupied. From a purely literary and popular literature of the two-habitat, into a complete popular literature, popular literature to accept the decision of the impact of pure literature, the performance of pure literature on the infiltration of popular literature. Such as China's popular novel, originally emphasis on the story, then make extensive use of psychological description, scene description, also pay attention to the inner world of characters displayed. From the 20's to 40's, popular fiction can be seen from the traditional "Chapters" to the modern novel, which is fraught with pure literature on the infiltration of popular literature. Developed to Qiong Yao, Jin Yong's novels, only in subject matter followed the traditional "Romance" "martial arts", the novel thinking and feeling, form and content, compared with the traditional popular fiction, has been completely modernized. Contemporary fiction, pure literature and popular literature is increasingly clear boundaries: some are seen as works of pure literature, according to Western standards should be considered popular fiction; something that has never been as popular fiction, such as Jin Yong's works, by some University of forum that is pure literature. Perhaps this in itself evidence of pure literature and popular literature, the gap between what has been narrowed to the point.
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