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正如钱理所说:鲁迅的小说与杂文偏于“为别人”与“为敌人”,而他的散文是偏于为自己。鲁迅在他的唯一一部爱情小说《伤逝》中,最重要的不是书写他个人的情感历程,而是想通过这篇小说“使自己介入意义的追寻并献身于启蒙”。然而,鲁迅身为一个怀疑论者和一个具有心灵辩证法的思想者,其在作为启蒙者的同时,也必然站在了启蒙的对立面上。因为鲁迅本身便是一个悖论式的存在:这种悖论不仅体现在希望与绝望,生命与死亡,光明与黑暗的二元对立,而且还深刻地体现在构建启蒙与解构启蒙相互对立的命题上。本文通过对《伤逝》的分析,以达到对鲁迅启蒙观进行初步整理的目的。
As Qian Li said: Lu Xun’s novels and essays tend to be “for others” and “enemies,” while his essays are partial to himself. In his only love story, Mourning, Lu Xun’s most important thing is not to write his personal emotional history. Instead, he wants to “make himself involved in pursuing meaning and devotion to enlightenment.” However, as a skeptic and a thinker with spiritual dialectics, Lu Xun, as an enlightening person, must also stand on the opposite of enlightenment. Because Lu Xun itself is a paradoxical existence: this paradox is not only reflected in the binary opposition between hope and despair, life and death, light and darkness, but also profoundly embodied in the proposition that the enlightenment and the deconstruction enlightenment are mutually antagonistic on. Through the analysis of “Shangdu”, this article aims to achieve the preliminary arrangement of Lu Xun’s Enlightenment.